POPULARITY
6 episodes with Rolleiflex
9 episodes with Rolleiflex
5 episodes with Rolleiflex
4 episodes with Rolleiflex
8 episodes with Rolleiflex
8 episodes with Rolleiflex
2 episodes with Rolleiflex
3 episodes with Rolleiflex
2 episodes with Rolleiflex
Amy Touchette joins us and talks about her journey as an artist, writer and professor in the photography world, looking at photography from a different perspective, lessons in mortality, collaborative street portraits with the Rolleiflex and more!
¿Te has preguntado cómo un simple retrato en blanco y negro puede contarte una historia completa? En este episodio de FotógrafoPro nos sumergimos en la vida y obra de Rodney Smith (1947–2016), el fotógrafo neoyorquino que fusionó la elegancia clásica con toques surrealistas y humor elegante.
It is only since Vivian Maier's death in 2009 that the 150,000 photographs she rarely showed to anyone have come to light. Working as a nanny in the suburbs of Chicago in the United States in the 1950s and 1960s, she captured extraordinary street scenes on a Rolleiflex camera. But she did not always develop the photos. With no permanent home of her own, she paid for storage units where her life's work was kept. The archives were auctioned when she died and she is now considered one of the best street photographers of the 20th century. Josephine McDermott presents accounts from the BBC archive from the people who found themselves in Vivian Maier's orbit.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from football in Brazil, the history of the ‘Indian Titanic' and the invention of air fryers, to Public Enemy's Fight The Power, subway art and the political crisis in Georgia. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: visionary architect Antoni Gaudi and the design of the Sagrada Familia; Michael Jordan and his bespoke Nike trainers; Princess Diana at the Taj Mahal; and Görel Hanser, manager of legendary Swedish pop band Abba on the influence they've had on the music industry. You can learn all about fascinating and surprising stories, such as the time an Iraqi journalist hurled his shoes at the President of the United States in protest of America's occupation of Iraq; the creation of the Hollywood commercial that changed advertising forever; and the ascent of the first Aboriginal MP.(Photo: Vivian Maier self-portrait. Credit: Vivian Maier/ Alamy)
As sometimes happens in the wonderful world of social media content creation, "the best laid plans of mice and men often go astray" we had plans to record Episode 90 back in March, but a variety of unfortunate and unrelated happenstances occurred which resulted in a short hiatus for recording. We had planned on making Episode 90 a show all about Cameras of the 90s, but we had also wanted Episode 91 to be recorded with two special guests, so we were forced to do things out of order. Thankfully, the obstacles which caused our six week break didn't interfere with us sitting down with Jeff Greenstein and Gabe Sachs from the I Dream of Cameras podcast. For those of you who are familiar with their show, you'll know that Jeff has a fondness for Alpa cameras, so this unofficially doubles as our first and probably only Alpa episode. After some short introductions, we refer back to a fun comparison between the two podcasts written by listener John Kelly and both hosts give our reactions to some of his funny answers. We cover a variety of cameras that we all love and shoot, along with Jeff's deep dive into why he loves the Alpa 11si so much. Gabe shares a story of how he's had to rebuild his camera collection from scratch after losing it when his home burned down in the Palisades wild fires that ravaged Los Angeles earlier this year. We ponder why the Hasselblad XPan can't get repaired anymore and what other cameras are on the verge of being unrepairable. Mike shares three very different Alpas in his collection and shares what he likes and doesn't like about all three, Anthony shares his thoughts on a new (to him) Fuji camera he recently bought, and Paul talks about his plans for traveling to Ireland later this spring. 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. As promised two episodes ago, we still want to do a Cameras of the 90s episode, but this time it will have to be Episode 91. Finally, Theo will get a chance to talk about his beloved Mamiya 7, but in addition to that there were many other terrific cameras from that decade like the Nikon N90s and the premium 28Ti and 35Ti point and shoots, the Contax AX, and the Olympus µ[mju:]-II. In addition to terrific film cameras, the 1990s was the first decade with a large number of digital cameras like the Minolta RD-175 and Nikon D1. We will record Episode 91 on Monday, May 5th at 7pm Central Daylight Time and 8pm Eastern Daylight Time. In This Episode Jeff Greenstein and Gabe Sachs from I Dream of Cameras / Episode Numbers John Kelly Compares Camerosity and IDOC Podcasts: A Rebuttal Rich Coastal Elites vs Salt of the Earth Midwesterners / So Good Camerosity Yellow and Red is the Same as Kodak Yellow and Red Mamiya 7, Alpa 10s, Pentax 17, and Hasselblad 500 Why Can't Anyone Repair the Hasselblad XPan? / Unrepairable Cameras Paul Doesn't Know what Neon Genesis Evangelion Is Anthony and Paul Trade a Leica M2 for a Rolleiflex 3.5F Gabe Talks About Losing His House and Entire Camera Collection in the LA Wild Fires Limiting a Collection to 30 Cameras / Olympus Pen FT Jeff Handles an Ilford Witness / Anthony Much Prefers the Bell & Howell Foton Is there any Alpa Heritage in Bolex Cameras? / Kern Lenses / Kilfitt Makro Kilar Lenses Mike and Jeff Both See the World in 40mm / The Konica AR 40mm f/1.8 Lens is the Best Value in 40mm The Original Alpa Reflex is a Hybrid SLR and a Rangefinder Mike Had an M42 Alpa Lens with No Body So He Bought an Alpa Si2000 / Chinon CE-II Memotron Jeff's Rhapsody for the Alpa 11si / The Weirdest Motor Drive Ever / Engraved Cameras Jeff Goes to Paris Fashion Shows / Cincinnati Camera Show Update / Sydney Show Update Anthony Picks Up a Fuji GS645W Professional / Fuji's Barcode Film System More Recap of the Cincinnati Show Stephen Gets a Pentax 110 Auto / Theo Gets a Light Meter that Measures in Foot Lamberts Jeff Wants to Get a Pentax MX / He Has a Medical Camera Called the Pentax MF Jeff Also Got a Zeiss Taxona and a Mamiya Sketch Mike Picks Up a Minolta 35 Model IIB and an Original Argus C with the F/S Switch 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. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Jeff Greenstein and Gabe Sachs - I Dream of Cameras - https://www.idreamofcameras.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/
Gabe spills the tea — about the cameras he's hunting for as he rapidly rebuilds his collection — while Jeff spills the coffee. That's it. He spills it. Then recounts a whirlwind European trip featuring a phantasmagoria of phenomenal photographica. New York, London, Paris, dry-dock — everybody talk about pop IDOC!Jeff bought a camera bag! okay, he found a used Ona Union Street at B&H, but whaaaaat????… then he went to London …got an odd little book at The Photographer's Gallery on Analog Photographyvisited Camera City, said hi to Pany, did not buy a Bronica RF645visited Aperture Photographic, gaped at the amazing inventory, talked with Simon about photography with a Pentax Stereo Adapter, did not buy an absurd Contax Previewvisited Mr Cad, kibitzed with the legendary Alex Falk, did not buy a rare and tantalizing Wrayflex, once again got the book instead… then on to Paris …visited Photo-Vincent, met the man himself, drooled over a black Alpa 6c and the 30mm lens for the XPanthere was zero hand-check madness on this trip! we credit the Sissi Lu DO NOT X-RAY bagthe sainted John-Michael Mendizza sent Gabe a Rolleiflex 2.8c and Jeff a Zeiss Taxonahow's Gabe getting on with his half-a-cookie Olympus Pen FT? he's on frame 56…the viewfinder's a bit dim, so Jeff unfortunately altered him to the existence of the Pen FVGabe's up to twenty cameras of his planned thirty-camera collection, and here are the items on his hit list:Mamiya RZ67Kiev 60 with Volna-3 lensMamiya C330black Leicaflex SLPentax MX (he's already got the 40mm pancake!)a brassed black Nikon Fand the 35mm Sigma art lens for the Canon EOS 3Gabe got a Yashicamat LM and a Minolta SRT-101 from Maria Elena Rodriguezopened the time capsule camera bag, went back to the Palisades house with Brandon, and unearthed more camerasJeff has a final book recommendation: Tight Heads by Candy Clarkwe finally voyage to the very bottom of our Prodigious Mailbag™ and end with a challenge: write lyrics for our theme song! you could win fabulous prizes!
A long-awaited catch-up in which Gabe reviews the events of the past month. The biggest news: he bought a half-frame camera! WHAT IS UP WITH THIS DUDE? Tune in for the rollicking debrief!how's Gabe doing? well, he:took some trips to the Palisades house with Brandonfound the remains of many cameras, including Rolleiflexeswas interviewed by National Geographic reporter Gideon Mendel, who documents such thingsand has returned to shooting! with the Rolleiflex 3.5E, Nikon FE, Leica M6…...but not the cameras in the bag he grabbed on the day of the fire Trev Lee thoughtfully returned the Rolleiflex Gabe had traded him for his Leica M5Gabe went to the LA Camera Expo, which is shaping up greatwhile in LA, Jeff shot with:Rolleiflex SL350 — sublime!Canon F-1 Lake Placid Olympics edition — underrated!Rollei C35 — ridiculous!FujiFilm GA645 — confounding!upon departure, he removed all batteries from idle cameras ‘cause he's compulsiveand he swapped Alpas! the 11si and 50mm Kern-Macro-Switar came east, while the 10s and 24mm Angenieux stayed west!shocking half-a-cookie news! Gabe bought an Olympus Pen FT!while Jeff failed to snag a Zeiss Tenax II, so he bought the book by Wes Loder insteadand he received a cool Lego Retro Camera as a gift from Todd and Mistiemay we draw your attention to Andy Gray's amazing IDOC-inspired Pentax MF mod pagea rare treat! Jeff dined with Sunny 16's Clare Marie Bailey and her brilliant musician friend Gwenno at the storied Chelsea Hotelwe take an emotional dip into our Prodigious Mailbag™and finally, we urge you to see Bob Trevino Likes It, starring our friends Barbie Ferreira and French Stewart
Min 5: MICKEY 17 Mickey 17 es un "prescindible" (un empleado desechable) en una expedición humana enviada para colonizar el mundo helado de Niflheim. Tras morir durante la misión, se regenera en un nuevo cuerpo con la mayoría de sus recuerdos intactos. Nueva película del ganador del Oscar Bong Joon Ho (Parásitos) con el protagonismo de Robert Pattinson (The Batman). CALIFICACIÓN EDC: 3 estrellas Min 15: PRESENCE Una familia se muda a una casa nueva y ahora todo son preocupaciones. El divorcio de los padres flota en el aire y la hija adolescente tiene que digerir la muerte de una amiga íntima por sobredosis de droga. Pero no están solos en su propiedad: un fantasma les observa. Calificación EDC: 4 estrellas Min 22: LEE MILER Película inspirada en la figura de Lee Miller (Kate Winslet): una mujer de mediana edad qye se negó a ser recordada como modelo y musa de artistas masculinos. Miller desafió las expectativas y normas de la época y viajó a Europa para informar desde el frente en pleno conflicto. Allí, en parte como respuesta a su propio trauma personal, utilizó su cámara Rolleiflex para dar voz a los sin voz. Lo que Lee filmó en Dachau y en toda Europa fue estremecedor y espeluznante. CALIFICACIÓN EDC: 3 estrellas Min 29: TARDES DE SOLEDAD El largometraje documental sobre la tauromaquia, dirigido por Albert Serra, ofrece un retrato íntimo y fascinante del torero peruano Andrés Roca Rey y su cuadrilla, adentrándose en el universo taurino desde una perspectiva artística y reflexiva. CALIFICACIÓN EDC: 4 estrellas Min 38: EL ANÁLISIS DE LOS OSCAR DE ANORA Repasamos los errores y aciertos de nuestra Quiniela, a la que faltó el valor de poner toda la carne en el asador por "Anora", a la que pocos expertos veían como el título que iba a llevarse casi todas las estatuillas a las que optaba. Alberto Luchini sigue remontando el vuelo tras sus últimos fracasos en estas citas y se mantiene firme en el notable. Min 47. OSCAR BSO PARA THE BRUTALIST Y ya lo intuyó Roberto Lancha minutos después de sentarse en una sala a ver The Brutalist. Su banda sonora olía a Oscar y así se confirmó en la ceremonia de la semana pasada. Valoramos con Ángel Luque la decisión de la Academia que, como también intuíamos, desdeñó el valor global de los dos musicales que optaban a este Oscar: Emilia Párez y Wicked. Min 57: LA PELÍCULA DE TU VIDA, CON AURORA GONZÁLEZ Y en este capítulo de Estamos de Cine nos reservamos el privilegio de dar voz a una de las grandes voces amigas que nos han acompañado y enamorado en estos casi 10 años de programa. La periodista, presentadora, actriz de doblaje y aprendiz de cantante Aurora González nos abre su corazón, sus recuerdos y los secretos de su amor por el cine para desvelarnos una de esas joyas que conjugó el talento de dos grandes como Spielberg y John Williams. Y no, como bien dice ella, no es ET ni La Lista de Schindler.
Beacon artist examines the shock of parenting Judging by several titles of her experimental photographs - "Bad Dream," "Boiling Point," "Nothing Left to Give" - motherhood challenged Emma McDonald Diamond. For the first time in 10 years, she has assembled a solo show, The Thief, which plumbs the depths of emotion. It opens Saturday (Jan. 11) at Super Secret Projects in Beacon. "There's a lot of joy being a parent, but I lost so many things, like my spontaneity, my individuality and my creativity," says McDonald Diamond, 40. "Now, I've bounced back and found myself again." The artist is upbeat. She and her husband can tap into a full family system to help with their two boys, ages 2 and 4. But early on, she found it difficult to cope. One day, an overtired son could not stop crying or be consoled for "what felt like eternity," she says. "I thought about taking him to the hospital. I didn't know what to do." Eventually, he fell asleep in her arms as they sat in a rocking chair, a gentle breeze sweeping over the porch, "but it was something I've never experienced before, and it shocked me to the core." Most of the imagery in the exhibit is mired in the dire times. With elaborate staging, a Polaroid Lab, multiple manipulations, unorthodox darkroom techniques and a vintage 120mm Rolleiflex camera, McDonald Diamond aimed to create works that were ethereal and haunting. She dislikes self-portraits but trained the camera on herself for several shots, including "Only the Wind," which refers to the breeze that helped calm her son. As she reposes in a bathtub, eyes closed, tilting toward the camera, a big black blotch covers part of her head. McDonald Diamond, or friend and model Alice Graff, also pose covered with a membrane of chiffon as if they're inhabiting a gauzy womb or cocoon, distanced from the world. In "Shell," Graff lies in a fetal position with her back to the camera and covered in black twine, as if tied down. "Boiling Point" "Control" "Nothing Left to Give" "Only the Wind" "Shell" Several photos, taken through a rippled glass plate, generate harrowing, splintering effects. The subject in "GODS" seems to be suffering from a nightmarish migraine as head, face and hands look like they're splitting apart. Beyond art, McDonald Diamond says another aid to her recovery was the Beacon community. After moving from Brooklyn in 2021, McDonald Diamond plunged right in, co-founding the Beacon Photo Club, which meets monthly at Hudson Valley Brewery. The group's first exhibition, Black & White, at Big Mouth Coffee Roasters, 387 Main St., continues through Jan. 30. A couple of images in The Thief hint at McDonald Diamond's turnaround. In "Two Truths," Graff stands seminude, hinting a smile with hands clasped behind her head and elbows sticking out. The image suggests movement, as if she's boogying to a disco beat. Even more revealing is "Don't Look for Me in Person I Was Yesterday," a 5-foot sculpture that strings 624 photos together with trellis netting and looks like scales on a giant fish. From the top, shades progressively fade from inky-dark hues into gray midway, ending at the bottom with bright shots of her smiling children. "The last thing I want is for someone to see this show and think, 'I'll never have kids,'" McDonald Diamond says. "My mother, a pediatric nurse practitioner, always said that if people knew how hard it is to raise a child before becoming parents, there would be fewer people." Super Secret Projects is located at 484 Main St. in Beacon. The Thief opens on Jan. 11 with a reception from 6 to 9 p.m. See supersecretprojects.com. The Beacon Photo Club next meets on Thursday (Jan. 16). See beaconphotoclub.com.
Episode № 84 is a special rush-released super-sized Christmas / Hanukkah episode — unwrap it and enjoy!Gabe's been shooting with the Polaroid Big Swinger, Rolleiflex 2.8E2, Nikon F2, Leica M4…he had a lab mishap! they made it right, but it still shakes your confidencePolaroid peel-apart camera rollers vs. bladesGabe went to Alcove Café with Rafael Hernandez and Dave Tada, members of the elite Fuji X100VI club, and now he's lusting for onesubmitted for your approval: the mighty Fujifilm GF670 Professionalwhen was the last time Jeff shot with the Leica M6 TTL? August 2021… so we're both culling our collections! message us!is there a camera that's too perfect? that you shoot too quickly with? like the Canon EOS Rebel 2000 or Canon 5D?Jeff didn't shoot much in Jamaica, and here's why: he wanted no barriers between him and the experience - do you sympathize?the Fujifilm GA645 Professional gave Jeff a scare - as with the XPan, Fuji's battery indicators are wildly deceptiveare CR123 and CR123a the same battery? maybe!final reckoning: which cameras will Jeff bring to Iceland? meanwhile, Ollie's bringing a Kodak Medalist!expired 220 film is super-intriguing!Gabe feels he can always count on his Rolleiflex - what are the cameras you rely on?our Prodigious Mailbag™ is bigger than Santa's bag of toysnext episode, Jeff reviews Bellamy Hunt a.k.a. Japan Camera Hunter's new book Film Camera Zen - tune in for the tea!
On this episode of the Camerosity Podcast, the guys took a suggestion off the top of the Camerosity Suggestion Box™ and dedicated this episode to medium format SLRs. That's right, finally, an entire episode dedicated to Bronica, Mamiya, Rolleiflex, Kiev, and Norita SLRs (but not that H-brand). Joining Anthony, Paul, Theo, and Mike on this show are returning callers A.J. Gentile, Brian Zeman, Miles Libak, Will Pinkham, and first time callers Andrew Wells, Fernando from Germany, Henry Blanton, Robert Wawrzinek, and Tom Zoss. The show gets off to a quick start with the Bronica system, one that Mike has limited experience with, but the listeners make quick work out of recommending an accessory that Mike immediately decided he needed. Our love for this Japanese SLR starts with the early S-series, moves into the GS, and finally ETRS series, but one is a clear favorite. Another well received SLR is the Kowa Six which Mike has been tirelessly shooting in the weeks prior to this show, ready to share his thoughts. Anthony and Andrew both share their strong desires to own a Rolleiflex SL66, and Fernando shares his love for Soviet and East German medium format SLRs. A huge number of "less common" cameras like the KW Reflex Box, VEB WEFO Master Reflex, Fujita Six, Folmer-Graflex National Graflex, and both the horizontal and vertical versions of the Ihagee Exakta 66 get their mentions. We point out the 6x6 SLR with the fastest medium format lens ever made, who is best to repair Mamiya SLRs, and ponder the age old question, "Why didn't anyone ever make a 6x9 SLR?" We get a little off topic, discussing John Minnick's Aero-Liberator SLRs used by Graham Burnett, Graflex's "Stove Top" SLRs, and Tom Zoss's custom Graflex XL with a very wide Rodenstock lens on it. Plus, as an added bonus, we cover the only 16mm SLR in any of our collections, the KMZ Narciss SLR! 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. Our next episode will be Episode 80 and we're taking the opportunity to dedicated this episode to cameras of the 80s (you get to pick the century). The 1980s saw a huge advancement in auto focus SLRs, the use of lightweight plastics, and the beginning of the "bridge camera" era. If you're fans of gems like the Nikon FM2, Minolta X-700, Leica M6, or the Yashica Samurai, this is the episode for you! We will record Episode 80 on Monday, October 28th at 7pm Central Daylight Time and 8pm Eastern Daylight Time. In This Episode Mike Owns Two Bronica SLRs / Bronica S2 / Bronica GS-1 Kiev-60 SLR w/ Screw Lens Mount Adapter / ARAX Repaired and Upgraded Cameras Order Matters on the Kiev Cameras / Repairing Kiev SLRs / Kievs with Pentacon Six Mount Paul Declares the Bronica and Kowas to Be Value Leaders / Early Bronica S-Series Bronica S2 Has a Removable Helicoid Which Adds Flexibility / Adapting Other Lenses to Bronicas Mike's Early Review of the Kowa Six / Kowa 66 Fujita 66 / Kalimar Six / Kodak Duo Six-20 John Minnick and Graham Burnett's Aero-Liberator SLR / Stove Top Graflex SLRs Mike is Working on a Review for the Folmer-Graflex National Graflex KW Reflex-Box is a Box Camera That's Also an SLR Brian GASses Mike into Buying a Winder Grip for the Bronica GS-1 Anthony's Favorite Medium Format SLR is the Rolleiflex SL66 / The Scheimpflug Effect Ihagee Exakta 66 Horizontal and Vertical Cameras Kochmann Reflex-Korelle / Master Reflex Norita 66 and Pentacon Six / The Noritar 80mm f/2 Lens is Faster than Most Medium Format SLR Lenses Repairing the Rolleiflex SL66 / Watching Watch Repair Videos on YouTube / Chris Sherlock's Camera Repair Videos Bill Rogers is a Great Resource for Mamiya SLR Repair / Mirror Stop on the Mamiya 645s How Many People Shoot Both Medium Format Rangefinders and SLRs? Nobody Made a 6x9 SLR / The Fuji 690 Rangefinder Series is as Close as You'll Get Two Huge Cameras are the Gowland Flex and Fuji GX680 What is the Difference Between the Mamiya RB67 and RZ67? KW Pilot 6 / Chinese Great Wall DF Series Tom Zoss's Custom Graflex XL with Rodenstock Wide Angle Lens Mike Likes Vignetting / Bill Rogers for Mamiya Repair / Who is Repairing Retinas Now The Only 16mm SLR We Know About / KMZ Narciss 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. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ 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/
Our blockbuster eightieth episode includes talk of wedding shoots and model shoots, German Rolleis and Swiss Alpas, plastic Pentaxes and Pano Portrait Snobs. Tune in for all the badinage!Eighty episodes — even the hosts can't remember the highlights! So which three episodes would you recommend to the uninitiated?Gabe went to a Cameras & Coffee meetup at the Culver Steps……where he drooled over an Olympus OM-4Ti and a MamiyaflexHe also brought five cameras to a shoot with Claire Hinkley:the rare and coveted Tele-Rolleiflex lent to him by the sainted John-Michael Mendizzathe old faithfuls: Rolleiflex 2.8E2 and Leica M4the mighty Nikon FM3aand a long-languishing Hasselblad 500CWhen Jeff and his siblings met up in Philadelphia for their yearly Fourphans™ Weekend, the Canon EOS Rebel 2000 with 40mm lens was his faithful plastic companionHe also went to Unique Photo and gaped at some rare Alpas, including the freakish 8b, which is both an SLR and a rangefinderWhich cameras did he use to cover his girlfriend's son's wedding?Canon EOS Rebel 2000 for pre-wedding prepOlympus XA4 with A11 flash for the rehearsal dinnerand of course the Hasselblad XPan for rooftop beauty shots of the betrothedYearning to get some new gear, Jeff grabbed an 24mm Angenieux lens for the Alpa at KEH… only to return it because it was not Alpa mount, but ExaktaHe also handled a Pentax 17 and recoiled from its icky extruded bodyAnd despite his devotion to the XPan, he bombed at the Epson Pano Awards — could he be a victim of the pano portrait snobs?As requested by faithful listener Gaetan Cormier, may we present the “So good” t-shirt, a loving tribute to Gabe's catchphraseAnd finally: a deep dive into our Prodigious Mailbag™
Welcome to our Harvest Horror Fest Break. Mike was not able to get around to checking out this film before October and this film deserves to be talked about. This week we finally chat about Lee starring Kate Winslet, Andy Samberg, Alexander Skarsgård, and Andrea Riseborough. Non WW2 journalism topics include Rolleiflex, Sam Adams, and Joker: Folie à Deux flops at the box office. Next week we get back on track with our 7th Annual Harvest Horror Fest reviewing the fifth film in the series, Friday the 13th: A New Beginning. Don't forget to stay to the end for Ma Hinshaw Loses Her Cookies Episode #84. Thanks for listening and we will chat with you next week! If you have a film you would like Matt and Mike to review, email us at nerds@reelfilmnerds.com You can find us on all things social such as YouTube, Facebook, Instagram, and Twitter. Why not join our Facebook Fan Group so you can yell at Mike and Matt from the comfort of your keyboard while talking about films. We also have an old fashioned website where you can watch trailers, read the host's bios, listen to the podcast, and get a ton more info on the movies we review. http://www.ReelFilmNerds.com Thank you for liking, subscribing, rating, reviewing, and telling your friends about our podcast. Finally go out and catch as many movies as you can!
Get Your Kicks On Cheap 6X6 Season 5 episode 3 Looking for a 6X6 but can't quite commit to spending over $500, let alone dropping $2000? Check this latest episode of Bringing It All Back Home. Included: Mamiya C3 and it's awesome vintage chrome magic. Comparisons between cheap Mamiya TLR cameras vs 3.5 Rolleiflex. Can you embrace the weight, the bellows, the dorkiness? Also: shooting vintage uncoated glass with TMAX 100 | ID11.
Lucy Fenwick Elliott speaks to director Ellen Kuras about her new film Lee, cinemas now, starring Kate Winslet. LEE tells the story of Lee Miller, American photographer.Determined to document the truth of the Nazi regime, and in spite of the odds stacked against female correspondents, Lee captured some of the most important images of World War II, for which she paid an enormous personal price. The film is not a biopic, instead it explores the most significant decade of Lee Miller's life. As a middle-aged woman, she refused to be remembered as a model and male artists' muse. Lee Miller defied the expectations and rules of the time and travelled to Europe to report from the frontline.There, in part as a reaction to her own well-hidden trauma, she used her Rolleiflex camera to give a voice to the voiceless. What Lee captured on film in Dachau and throughout Europe was shocking and horrific.Her photographs of the war, its victims and its consequences remain among the most significant and historically important of the Second World War.She changed war photography forever, but Lee paid an enormous personal price for what she witnessed and the stories she fought to tell. If you'd like to send us a voice memo for use in a future episode, please email podcast@picturehouses.co.uk. Subscribe on Apple Podcasts. Follow us on Spotify. Find us on Twitter, Facebook and Instagram with @picturehouses. Find our latest cinema listings at picturehouses.com. Produced by Stripped Media. Thank you for listening. If you enjoy the show, please subscribe, rate, review and share with your friends. Vive le Cinema.
Two glasses of white wine reduces Jeff to drunkenly raving about travel cameras, airport hand-check injustices and (predictably) his usual cast of bêtes noires. Meanwhile, stone-cold-sober Gabe offers sharp, reasoned takes on the new Pentax 17 and the cameras of 1955. Tune in to Episode № 74 (not 75) for all the mayhem!Jeff recorded this episode from Rome after imbibing two glasses of cheap white wine, which is why he keeps calling it Episode 75Why the two cameras Jeff picked for his extended European trip — Olympus XA4 and Hasselblad XPan — have been idealLisbon Airport is the worst — they abjectly refused to hand-check Jeff's film!Jeff had 18 rolls developed at Ars Imago in Rome, and here's what he learned: Kodak Portra 160 needs tons of lightGabe unexpectedly presents: Cameras in Focus 1955!Miranda TCanon IIs2A $200,000 Leica accessory the Leica UW underwater housingOlympus WideGabe visited our lovely friends at LA Film Camera and you should tooThe boys drop some Strong Opinions™ about the new Pentax 17 half-frame film cameraGabe considered trading his Rolleiflex 2.8F for a Plaubel Makina and finally opted not to……but because he's Gabe, he stumbled across a garage sale in Pacific Palisades and came away with all this for only $200:Olympus 35RCTopcon RE Super with three lensesLeica V-Lux 3Gabe revisits his chronic bouts of which-camera-to-bring anxietyWe drop a small I Dream of Pizzas travel tip: the best pizza Jeff's girlfriend has ever had was at Ai Marmi in RomeA dip into our paltry yet Prodigious Mailbag™ Gabe reacts to the NY Times article about film shooters trashing their negativesAnd Jeff offers one more shout for the RitchieCam, an iPhone app that can emulate the XPan
“I am sitting in the smallest room of my house. I have your review before me. In a moment it will be behind me.” — Max Reger, German composer (1873–1916), responding to a savage reviewJeff's in Lisbon at the start of a month-long European trip; Gabe's in LA developing his own film for the first time in years. But what's obsessing them the most? Their first rotten review! Tune in for all the merriment and NO PRAISE!Jeff's choice of cameras and film for a month-long European trip:the Hasselblad XPan with both the 45mm and 90mm lensesthe mighty Olympus XA4 macro24 rolls of Kodak Portra 400 and Portra 160Gabe's eBay misadventure in pursuit of the Pentax 50mm 1.7: the “as-is” Pentax ME Super and S1 turned out to be nonfunctional, the lens was dented……but he did get a Watson bulk loader!He lent his Canon EOS 3 to Martin Starr… so he had to buy a replacement: the EOS Elan 7NE. Which was perfect — even better than our beloved Rebel 2000!More eBaying: Gabe also got the Nikon 85mm f1.4Dand he got his beloved Leica M3 repaired by our trusty dusty camera repair guy! whom he interviewed! and who may finally be unmasked in an upcoming episode!Jeff was on the cusp of buying an Olympus OM-3 when his cherished 12” Retina MacBook dropped dead… hence no OM-3Gabe went shooting with the Elan and his Rolleiflex and processed the film himself — it's a new era!In Lisbon, Jeff visited Vintage Dream Cameras and took a hard, hard look at a Snoopy 110 camera and a rare Leica IIIc with sharkskin leatheretteWe got a terrible review!Gabe compared Rolleiflex TLRs with Dave Tada, but it turns out there are lots of differences between the 2.8E and the 2.8E2! Also, Dave's has an RZ67 finder!Our friend Oliver's exotic Chinese Pearl River SLRJeff experienced sudden XPan battery deathWe empty out our Prodigious Mailbag™ Some notes on our composer Fred Coury: his former band Cinderella's Night Songs was released on this day in 1986; also, Fred just won his 6th Emmy!
Alberto Rossetti"Vivian Maier. Il ritratto e il suo doppio"Riccione, Villa Mussolini, fino al 3 novembre 202492 scatti realizzati prima con la fotocamera Rolleiflex e poi con la Leica e alcuni video girati in Super8 trasportano idealmente i visitatori nelle strade di New York e di Chicago, dove i continui giochi di ombre e riflessi mostrano la presenza-assenza dell'artista che, con i suoi autoritratti, cerca di mettersi in relazione con il mondo circostante.Gli scatti raccontano la sua vita in totale anonimato fino al 2007, quando il suo immenso e impressionante lavoro, composto da più di centoventimila negativi, filmati Super 8mm e 16mm, diverse registrazioni audio, fotografie stampate e centinaia di rullini non sviluppati, venne scoperto in bauli, cassetti e nei luoghi più impensati da John Maloof, fotografo per passione e agente immobiliare per professione che li acquista un po' per caso, salvandoli dall'oblio e rivelando al mondo l'immenso patrimonio fotografico di Vivian Maier.In tutti questi scatti si riconosce un'incessante ricerca per dimostrare la propria esistenza, non certo per una rappresentazione edonistica, ma la disperata affermazione di sé e la fuga da un'esistenza invisibile.Grazie a quel ritrovamento una "semplice tata” è riuscita a diventare, postuma, “la grande fotografa Vivian Maier”.In tutto il suo lavoro, ci sono temi ricorrenti: scene di strada, ritratti di anonimi estranei e persone con cui potrebbe essersi identificata, il mondo dei bambini - che è stato il suo mondo per così tanto tempo - ma emerge un' evidente predilezione per gli autoritratti. Lei stessa appare in molti scatti, con una moltitudine di forme e variazioni, a tal punto da configurare una sorta di linguaggio all'interno del suo linguaggio.A differenza di Narciso, che si distrusse nella contemplazione e nell'ammirazione della propria immagine, l'interesse di Vivian Maier per il ritratto di sé è piuttosto una disperata ricerca della sua identità. Costretta in una “invisibile non-esistenza”, a causa del suo status sociale, Vivian Maier ha silenziosamente e discretamente iniziato a produrre prove irrefutabili della sua presenza in un mondo in cui sembrava non avere posto.Riflessi del suo viso in uno specchio, la sua ombra che si allunga sul terreno, il contorno della sua figura: ogni autoritratto di Vivian Maier è una affermazione della sua presenza in quel luogo particolare, in quel momento particolare. La caratteristica ricorrente che è diventata una firma nei suoi autoritratti è l'ombra.L'ombra, quel duplicato del corpo in negativo, "scolpito dalla realtà", che ha la capacità di rendere presente ciò che è assente. All'interno di questo dualismo, Vivian Maier ha giocato con il sé e con il suo doppio.E poiché una fotografia, come ha detto Edouard Boubat, è "qualcosa di strappato alla vita", nel caso di Vivian Maier, i suoi autoritratti accumulati configurano una precisa identità, che ora ha preso il suo posto in un presente perpetuo, costantemente ripetuto e sigillato dalla Storia.Vivian Maier nasce a New York, il 1 febbraio 1926, i genitori presto si separano e viene affidata alla madre, che si trasferisce presso un'amica francese, Jeanne Bertrand, fotografa professionista. Negli anni Trenta le due donne e la piccola Vivian si recano in Francia, dove vive sino ai 12 anni. Nel 1938 torna a New York e per oltre quarant'anni è solo una “tata francese” mentre, nella stanzetta messa a disposizione dalla famiglia presso cui abita, coltiva una passione immensa: la macchina fotografica Rolleiflex poggiata sul ventre, e poi la Leica davanti agli occhi. Riproduce la cronaca emotiva della realtà quotidiana.I soggetti delle sue fotografie sono persone che incontra nei quartieri degradati delle città, frammenti di una realtà caotica che pullula di vita, istanti catturati nella loro semplice spontaneità. La fotografia era il suo hobby totalizzante e ha finito per renderla una delle più acclamate rappresentanti della street photography, collocata, nella Storia della Fotografia, accanto a grandi fotografi come Diane Arbus, Robert Frank, Helen Levitt e Garry Winogrand. In tutto il suo lavoro ci sono temi ricorrenti: scene di strada, ritratti anonimi estranei e persone con cui potrebbe essersi identificata, il mondo dei bambini – che è stato il suo mondo per così tanto tempo – ma emerge una evidente predilezione per gli autoritratti. Lei stessa appare in molti scatti.La mostra esplora proprio il tema dell'autoritratto di Vivian Maier a partire dai suoi primi lavori fino alla fine del Novecento. Le sue ricerche estetiche si possono ricondurre a tre categorie chiave, che corrispondono alle tre sezioni della mostra, allestite dopo un'introduzione biografica.La prima è intitolata L'OMBRA. Vivian Maier ha adottato questa tecnica utilizzando la proiezione della propria silhouette. Si tratta probabilmente della più sintomatica e riconoscibile tra tutte le tipologie di ricerca formale da lei utilizzate. L'ombra è la forma più vicina alla realtà, è una copia simultanea. È il primo livello di una autorappresentazione, dal momento che impone una presenza senza rivelare nulla di ciò che rappresenta.Attraverso IL RIFLESSO, a cui è dedicata la seconda sezione, l'artista riesce ad aggiungere qualcosa di nuovo alla fotografia, con l'idea di auto-rappresentazione; impiega diverse ed elaborate modalità per collocare sé stessa al limite tra il visibile e l'invisibile, il riconoscibile e l'irriconoscibile. I suoi lineamenti sono sfocati, qualcosa si interpone davanti al suo volto, si apre su un fuori campo o si trasforma davanti ai nostri occhi. Il suo volto ci sfugge ma non la certezza della sua presenza nel momento in cui l'immagine viene catturata. Ogni fotografia è di per sé un atto di resistenza alla sua invisibilità.Infine, la sezione dedicata a LO SPECCHIO, un oggetto che appare spesso nelle immagini di Vivian Maier. È frammentato o posto di fronte a un altro specchio oppure posizionato in modo tale che il suo viso sia proiettato su altri specchi, in una cascata infinita. È lo strumento attraverso il quale l'artista affronta il proprio sguardo.La mostra celebra non solo il talento di una grande artista, ma invita anche il pubblico a riflettere sulla bellezza della quotidianità e sull'arte di cogliere l'effimero. È a disposizione di tutti i visitatori una utilissima audioguida che accompagna il percorso espositivo.La straordinaria mostra, curata da Anne Morin con Alberto Rossetti, è promossa dal Comune di Riccione e organizzata da Civita Mostre e Musei in collaborazione con diChroma photography e Rjma Progetti Culturali.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.
He wouldn't…. Now that the long-raging and ill-advisedly-ignited Vivian Maier debate has finally died down, Jeff wouldn't throw gasoline on those embers by expressing a Strong Opinion about some recent Viv-related news, would he? Well, you'll just have to tune in to find out. Also discussed: the boys swap cities, Gabe in New York and Jeff in Los Angeles; recent shooting adventures with a slew of cameras both old and new; and the proper way to express your love of our smash hit podcast: through lavish gifts!we had a tremendous response to the last episode — clearly 69 is something people really enjoyheh heh heh, the folks at Camerosity took the bait — haven't y'all read The Mouse That Roared?Gabe's adventures in New York shooting his Rolleiflex and Leica M10 with Sissi Lu (shoutout: Katz's Deli) and Chris Chu (shoutout: Salt's Cure), plus drive-bys at B&H and picturehouse + the small darkroomJeff sold his Robot Royal 24, but shipping to South Korea was twice as much as what the UPS website originally quoted, so he realized a net profit of $3.32however, he still wanted a square-format 35mm, so bring on the Mamiya Sketch… which is delightful and quirky!shooting the Canonflex R2000shooting the Pentax MF with FPP Color 125 (see Jeff's article in Casual Photophile)a hearty thanks to super-listener Jeffry Pittman, who sent us a Baby Rollei, a Hermes 3000 typewriter, and lots of filmiPhone iOS 17.4 now includes podcast transcripts so you may enjoy our soaring rhetorical flourishesJeff mildly reacts to some recent Vivian Maier newsGabe's planning an all-medium-format film shoot with the Pentax 6x7, the Mamiya RZ67, and the Hasselblad 501CMa passing mention of new friend Peter Kagan, about whom you will hear morea bold voyage into our Prodigious Mailbag™ and finally, a fond farewell to the great Joe Flaherty
Derek Gripper plays Malian Kora music on a vintage Hermann Hauser classical guitar...and if that doesn't get your attention, nothing will! John Williams himself describes feeling that this was, and, I quote, "absolutely impossible until I heard Derek Gripper do it." So that's pretty cool. We talk about his work translating the music of this beautiful African harp to the nylon string guitar, and the extraordinary instruments he has used in his quest to make the music in his head come to life including 8-string guitars, fanned frets and interchangeable magnetic fretboards. Yes, he has gone deep here! Also discussed are Derek's visit to the Hauser Guitars workshop to choose a career-defining instrument from their archive, his trust in embracing the "less good idea" and his love of single purpose technology, from Rolleiflex medium format cameras to his vintage Nagra reel-to-reel tape recorder. Speaking of recording, I also managed to record Derek playing my new guitar using this beautiful piece of technology and mics by Microtech Gefell and Royer. The results are right here: https://www.youtube.com/watch?v=bpYW9sq0aR0 Derek Gripper is a true iconoclast - as comfortable with Bach as he is with Toumani Diabaté. He has a truly orchestral sound when playing solo and fills concert halls around the world regularly. He is also one of the most quick-witted and funny people I've met. I hope you enjoy this conversation as much as I did. Learn more about Derek Gripper https://www.derekgripper.com https://www.instagram.com/derek_gripper/?hl=en https://www.youtube.com/channel/UCsINJ-6YFJvRbxFbJd0z4_g Your Host, Michael Watts https://www.michaelwattsguitar.com https://www.youtube.com/user/michaelwattsguitar https://www.instagram.com/michael.watts.guitar/ To support this podcast please donate here https://michaelwattsguitar.com/tip-jars/4745 A Fretboard Journal Podcast. https://www.fretboardjournal.com
Well, I'm back on the road with a microphone - but this time in my wife's nippy little Peugeot! There are a so many aspects of customer service but one of them is how you explain what you're going to deliver and how you're going to do it and, given the stories in this episode, that is something that is very easy to get wrong! Utlimately, clarity is king! Cheers P. If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode. PLEASE also subscribe and leave us a review - we'd love to hear what you think! If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at paul@paulwilkinsonphotography.co.uk. Full Transcript: EP148 - Clarity Is King [00:00:00] So for those of you with sharp ears, you may have noticed that that does not sound like my regular Land Rover biscuit tin on wheels, and you'd be absolutely right about that. I shall tell you the slightly sorry tale of what's happened to my Land Rover, uh, later in the podcast. In the meantime, I'm heading up to the photography show in Sarah's car, which is, frankly, as nippy as hell. [00:00:26] It's like driving a go kart. It's tiny, it's quick, it's a lot of fun to drive. It's not my Land Rover, but hey, I'm Paul, and this is the Mastering Portrait Photography Podcast. [00:00:40] So hello one and all, it is a very, very wet Sunday here in the UK. It's one of those, it's one of those days when I look around me And everything looks monochrome. You. You wouldn't be certain if this was an entry in a photographic , competition, I'd be accusing the author of putting a, a plugin on it that has sucked the color, sucked the life outta the scene. The sky is well gray, the road gray, the walls. The trees and hedges as I drive past them, sort of a grey green. Even, even the bright yellow markers on the roundabout signs that I've just driven past are not iridescent yellow. They're sort of a dull ochre. [00:01:44] Everything about today, except for my mood, is grey. And actually, it's been a little bit of a mixed month. Now, I know I said at the beginning of the year, and this, I said also at the beginning of the year, You never set yourself. New Year's Resolutions, because they're impossible to live up to, and if you want to do something, just set out about doing it, whatever time of the year it is, just set about doing it. [00:02:05] I set about doing a podcast a week, and then crunched into some of the busiest couple of weeks, I think, I can remember, which I'm now, well, sort of surfacing from. It hasn't, it's not exactly clear As in, the diary isn't clear, there's a lot going on but there are also chunks like today when I'm gonna spend the best part of three hours sitting in a car. [00:02:26] Now I know three hours, to my American and Australian friends, is like driving down to Starbucks for a coffee. For us in the UK, that is not an insignificant amount of time. So I'm going to record a podcast or two and then maybe over the coming weeks I'll get back into the rhythm of it and get these things rolling. [00:02:44] But there is so much going on story of the Land Rover so let's deal with some of the slightly sadder news over the last couple of weeks or last month or so. It started with an accident. Excellent couple of days up with the BIPP, that's the British Institute of Professional Photographers, or Professional Photography up in Preston, and then had a great meeting and spent a lovely evening with the guys for, with Martin and the guys there. [00:03:12] Discussing things like the monthly competition, how we're gonna, promote it. It's been very successful so far but of course, there's plenty more we could be doing. And then on The following day, went across to record a podcast, went across with a friend and a photographer, Sean Conboy, to meet a photographer who I had never met personally, but knew about, a guy called Stuart Clark. [00:03:35] Now, Stuart is 97, nearly 98 years old, and one of the sharpest, most interesting photographers I think I've had the privilege of meeting. We sat in his lounge and recorded, probably about an hour and a half, I have a conversation about photography, his life in it, his history in it, the things he has seen change, and when I say the things he's seen change, I mean fundamentally, you know, he started on glass plate cameras, and is now in the digital age, I mean that's in one lifetime how far it's come. [00:04:11] Almost in one set of stories we've gone from the origins of photography, maybe not quite, there's a little bit before that of course, I mean it started in the 1850s. But you know, almost the origins of photography as we know it through to today, and it's a fascinating interview, and as much as anything else, just listening to his voice on the microphone, I sat at the beginning of this interview and we popped a microphone in front of him and I put some headphones on, and as he spoke, it was the most breathtaking sound, he's quite quietly spoken, But the mic, and the room, and the ambience, and the stories he was telling, I mean, it was electric in my headphones. [00:04:51] I actually gave the headphones over to Sean so he could have a listen, simply because it was so beautiful. I'll cut that down, it's just a long interview, and I need to just figure out how I'm going to share that. But it was a wonderful thing. Wonderful thing. And at the end of it, took a few portraits of the man with He said, oh, I've got all my cameras. [00:05:09] We said, oh, get them out, get them out. And of course, he went looking for them and couldn't find them in the attic. I mean, Sean and myself, slightly terrified that we've sent this 97 year old into his roof space to see if he can find a camera. Anyway, he eventually returned with a Raleigh, a TLR. [00:05:25] Twinlens, Reflex, Rolleiflex. Beautiful camera, and so I've got some pictures of him with that, so a little bit of his history. Anyway, roll o'clock forwards to that evening, I leave Leeds head down the M1, which is the in the UK, for, again, my listeners around the world. It's the motorway that runs straight down the middle. [00:05:44] of the UK connecting the north to the south. It connects all the way up to pretty well, it goes up to Scotland pretty much and then drops straight into London. And I was heading down the M1 when suddenly, 70 miles an hour, I'm in the fast lane, they, there is, there wasn't really a bang, but you felt this kind of thunk, and then the engine's vibrating, I can smell oil, oh man, the smell, it's, if you've owned cars for a while, And you've had them go wrong, you just know, when you can smell oil like that, there is nothing but trouble. [00:06:19] Coming I planted my foot on the brake pedal and manoeuvred my way across a couple of lanes of reasonably fast moving traffic. Sort of slan slapped it into the hard shoulder as quickly as I could, because if you're running an engine, You can smell oil, it's vibrating, the last thing you wanna do is keep going because you are at that point destroying what is left of your engine. [00:06:45] So I lifted the bonnet to have a quick look, just to make sure there wasn't anything obvious. Sure enough, there is oil everywhere. Engine's not good. That's not going. So, luckily, I say luckily, this is, it's my life. I spend my life in a car. And we have recovery, RAC recovery. So I rang the RAC. [00:07:04] They said they'd be there within an hour because I'm on, I'm in live, I'm on the edge of live traffic. This is the, probably the busiest motorway in the UK and I'm sitting on a hard shoulder in the pouring rain by now. And I keep getting the updates and, you know, it's like, it says it's going to be an hour, then it's an hour and a half, then it's two hours. [00:07:21] It's, it's four degrees, which is pretty chilly. It's raining and sleeting. So I've, thinking, well, I don't really, and this is a lesson, I don't have any rain gear in a car. Luckily, I had a couple of blankets in there that we use for, if I want to sit people, if I'm doing a shoot somewhere out and about, I've got it in the back of the car, just in case I need to sit somebody down on the ground. [00:07:41] So I wrapped myself in a pair of picnic blankets, sat under one of our wedding umbrellas. Luckily I got some battery packs so I could keep my iPhone charged up and sat and watch Netflix. And of course I'm watching the arrival time of the RAC and it keeps creeping out and creeping out. And eventually this orange van arrives he takes one look at the car, sticks his head under the bonnet and says yeah, you've blown your engine, that's not going anywhere. [00:08:04] I can't tow you, he tells me, because the limit for towing a car as heavy as the Defender is one mile, and I'm six miles from the next available exit. So, he says the next, they'll send the recovery vehicle, proper recovery vehicle out, and I say, well, am I supposed just to sit here in the rain then? And he says, yep. [00:08:24] And so, for the next couple of hours, yet again, I'm out in the rain, I keep my phone charged up, keep watching Netflix. It turns out Netflix, I like watching Netflix anyway, it's always on in the background while I'm editing. It turns out it's quite a useful distraction, because by the time the recovery vehicle turned up to actually put it onto the flatbed, the guy looked at me and he just said, Simply, get in the cab, get warm. [00:08:47] I could barely move, my legs were shaking, I was beginning to get hypothermic. You stay out of the car for safety reasons, but I'm beginning to think it was more dangerous being not in the car than it was being in the car, which is an absolute nightmare. He had to open the door for me, my hands were so cold I could barely pull the handle. [00:09:04] I climbed into the cab, which turned out to be like a sauna, and sat and defrosted as he hitched up the car. and took me halfway home. Yeah, halfway. Because I was so far away, they couldn't drive me all the way back to home. So of course I'm in touch with Sarah, I've told her what's going on. They parked me at Northampton Services where they're going to send another recovery vehicle out for me. [00:09:27] And again, it says it's going to be an hour and a half. And I wait and I watch as the time increases, two hours, three hours, four hours. It's not clear, they never, they're never clear about how long it's going to take. And they, they deliberately obfuscate, I think, so that you can't say, well you said you'd turn up then. [00:09:44] They give you a range and then they keep telling you the range is creeping out. And, apart from the gas, I'm not the only person that needs recovering. And the driver did give me a. a heads up. He said to me as he left, he said, you might be a while because you're no longer in live traffic, so you're no longer in danger. [00:10:02] You're just sitting in a services. Now I would agree with him about the danger bit, but sitting in Northampton services at what were we now? Sort of midnight, 11 o'clock I think I arrived there. Maybe 10. 30 we arrived. And it's not a place you'd want to sit. There's nobody else around. Then luckily for me, I have a, you know, guilty pleasure in McDonald's and KFC and things. [00:10:23] Can't help myself, the smell of it. And I thought, I'll get myself a McDonald's. And so I got, I did, I got myself a burger. Some coffee and some chips, and sat chewing on those. And within two minutes of me buying it and getting it, I noticed that McDonald's had changed their sign. The big signs outside say that it's open 24 hours. [00:10:43] Big sign. McDonald's. 24 hours. Five minutes after I buy my burger, they put up signs that say, Sorry, only serving coffee. So that's not Open. That's not, that's a complete breach of contract as far as I'm concerned. They said they'd be, I'm thinking it's alright, I'll just get a burger and if I need one in a few hours I'll get another one. [00:11:02] Nope, none of that. I could get a coffee but couldn't get a burger in spite of the sign saying 24 hours. I'm gonna come back to this point because it's quite important for us as photography businesses. Anyway, I'm sitting there. The great and good of those that probably need a little bit of help from mental support and social services came and went, came and went, came and went. One or two drug deals were going on out in the car park. I don't know how, the police don't spot it. You can see it a mile away. So it's a fairly lonely thing. So I recorded a podcast. I recorded what was going to be this podcast. I got my recorder because it was in the car. [00:11:37] Obviously, I'd been recording with Stuart. And so I sat and I recorded a pretty, I think it was a pretty good, quite emotive podcast, I sat clutching my coffee because obviously that's now all that McDonald's was serving. It's fairly lonely except for the rantings of one chap who was telling me all about his relationship with the Queen. [00:11:57] I don't think he was very well, if I'm honest. I also don't think he was sober. So I recorded this, what I think was a rather excellent podcast, very Radio Four very radio documentary, you know, lots of background sounds and lots of life real life going on. And at the end of it, I sat back and thought to myself, that, that is going to be an excellent podcast, and I noticed that I hadn't hit the record button. [00:12:23] I was just so tired by now and a bit stressed. just forgot to do it. And so that was the end of that really, and I never, I didn't have the heart to do it again, even though I did have the time, because I was there for another couple of hours. I think in the end I waited there for four hours front to back. [00:12:39] Recovery vehicle, the phone rings, he says, I'm here, but where are you? And I look across six lanes of moving traffic, and he's on the other side of the motorway. Heading North. So, I'm heading South, so I have to direct him somewhere. Surely the guys have told you where I am, and they had, but not very well. [00:12:58] And he had to drive up to the next junction, turn around and come back and pick me up. And then, on it goes, and, and, we drop the car, I nominate to drop the car at our next stop. The guys that service it, my local, well it's not local, it's about 10 miles away, but the garage that services the Land Rover on a regular basis. [00:13:15] I dropped it in there lay by, switched on the immobiliser, locked it all up and Sarah picked me up and I got home at just about quarter past four in the morning. Now having left Leeds at about Two in the afternoon to get home at four in the morning was, well, a little bit heartbreaking. By now I was fairly fed up, fairly cold, incredibly tired, and I knew I had to wake up really early to let the guys know at the garage they've got a service to land over and also to get on with our day that was already in the diary. [00:13:49] So rang up the garage the next day, he didn't sound at all surprised. I'm glad to hear from me having spotted my Land Rover and he knows If the Land Rover's there, it needs something doing. And, obviously I got the engine, I went over, I got the engineer out to have a look at it, and even he rubbed his chin a bit. [00:14:05] And the only good news was there was still oil in the engine, which gives you hope. If there's oil in the engine, you haven't seized it. That's the good news. Anyway, 24 hours later, I get a ring from the engineer who says Found the problem, you've got a hole in Piston 2. Now, I don't, I'm not a mechanic, but I've been around engines all my life, and I know that if you hear the line, you've got a hole in Piston 2, you're in trouble. [00:14:33] And so it has proved to be, because to get a piston out to replace it, you have to take the entire engine apart. There's no getting away from it. The engine has to basically be dismantled, almost certainly taken out and put back in. Or in a Land Rover, they can actually lift the bodywork and service the engine on the chassis, but it depends what they're doing. [00:14:53] On this, I haven't asked the guys, I haven't been back to get it yet, and this is three weeks ago. So, So he explained to me that if an injector is maladjusted and is running a little bit rich, the additional heat from the fuel burns a hole through the aluminium. And I said, well, should I have done something? [00:15:08] And he said, no, there's no way of knowing. It's just not something that you could detect. And it's something that used to go wrong a lot. He hasn't seen it for a while with the later engines, but this one, he said, we used to see this quite a bit. For the past three weeks, they have been replacing the hole or replacing the pixel. [00:15:22] Piston with the hole in it in my Land Rover. I got a phone call yesterday, Saturday, but unfortunately I was in a shoot, and this is how the phone call went. He said, We've road tested your Land Rover. It's ready to drive. You can come and pick it up, but please bring your piggy bank with you. I kid you not, he used the phrase, bring Piggybank with you. [00:15:43] So I couldn't pick it up yesterday, can't pick it up today, can't pick it up tomorrow because I'm running a workshop, so I'll go over on Tuesday. I still don't know how much it is because the garage hasn't told me, in spite of me asking because it's a labour led cost. So the parts have been 1000 plus VAT, I know that much. [00:16:01] The labour is 75 an hour and I reckon, he reckoned it was 4 5 days work. So I know I'm in it for quite a large amount of outlay. Unplanned, bad time of year. I've got to find, who knows, anywhere between four and seven thousand pounds, who knows. So again, no clarity. Something I'm gonna come back to. [00:16:27] However, rest of the week, not so bad. And Another story. I think about podcasts, right? I could just tell you the facts, but it wouldn't be that much fun to listen to. Well, I don't think it would be fun to listen to. I wouldn't listen to it. 20 years ago, and I only know this because I picked up the light that I still have and looked at the Flash Center's service and and Quality Assurance sticker on it, and the light I bought second hand was serviced by the Flash Centre in 2003. [00:17:00] There's a sticker on it, and I remember going to the Flash Centre in London, scratching my chin, and I can't remember the guy's name, he's still in the industry, he doesn't work with the Flash Centre anymore and I, he said, can I help? And I said, yes, I want my first strobe, please. He said, I said, I'm happy to buy second hand, I don't know whether this is something I'm gonna do, but Would you recommend? [00:17:20] And we looked at the shelves, and, and, if you've ever been to the Flash Centre in London, it was brilliant. It wasn't a posh shop. It was, in some ways, it was like the drum shops I used to go to when I was a working musician, and it's just got racks and racks and racks of stuff. You know, there'd be a posh rack somewhere with all of the new bits and pieces from then, Bowens and Elinchrom, but then there'd be sort of, you know, Shelves and cupboards with interesting little bits of second hand kit and cabling and softboxes and umbrellas And it was brilliant and I was like toy a kid in a sweet shop And he said I think this would do you and he lifted off the shelf a second hand Elinchrom 500 so that's an Elinchrom 500 as this is a A strobe but it's got the old school analog sliders on it. [00:18:09] There were two sliders, one that controlled the strobe power, and one that controlled the power to the modeling light. And if you wanted them to stay the same, you move the sliders together. The slider's been designed to be close together, so you move them up and down, which, to me, having worked on audio mixing desks for concerts in the music industry, was absolutely brilliant. [00:18:32] Perfect. It was absolutely brilliant because I knew, it felt completely natural. Now, of course, one of the things was you never had the same Bower twice. It was already a second hand light when I bought it, and not a new one. So, whenever you set the lights in the studio, you had to reset your aperture to suit. [00:18:51] Because the things, it didn't matter. It didn't matter that you put a mark against the sliding scale. The sliders were so worn that lighting power would go up and down all the time. But it was metal cased. It's got a fan. It was quite loud. It's quite loud. And I bought that light. I. I bought a big tripod and I bought an Octabox, a six foot Octabox. [00:19:14] That was the three things I bought. A tripod, an Elecrom 500, an Elecrom tripod, Elecrom six foot Octa. Took it home and for the next year or two, practiced lighting. It wasn't part of our business for quite a long time because I never really had the space to do it. At that time I didn't have a studio. [00:19:34] I just knew that was the road we were going to go down, or I thought I might go down. But I didn't understand studio lighting, and so I needed time to get my shit together. So, I used to practice, I bought a polystyrene head, so there's a shop in London called the London Graphic Centre, which sell stuff. They sell art pens and graphics and it's two glorious floors of anything you can think of to be creative. It's absolutely fantastic. And in there, for some reason, they sold polystyrene heads. I don't know what they're for. You know, if they were in a hat shop, I'd understand it. If they were in a wig shop, I'd understand it. [00:20:14] In a graphics shop? I've no idea. What do you do? Sit with your pen in your hand looking at a fictitious head going, What do you think of this? Having a conversation with Polybeads, and I don't know. Anyway, I bought one. It was like three pounds or something. Carved out the eyes like something from a CSI episode. [00:20:31] I got a penknife, carved out the eyes, got a couple of big glass marbles, and shoved them in. I mean, it was quite macabre, but if ever, I'm found out to be a psychopathic, sociopathic, you know, mass murderer. Everyone will go back to this head and say, Well, we could see it then. Look what he did to the eyes. [00:20:49] But I popped those in because what I wanted to understand was how I move light around, what happened to the face, And what happened to the reflections in these glass marbles? It was just a very simple way of me being able to, without having models, because I didn't have a reputation back then, I didn't have a client base back then, I didn't have a steady stream of people that would come to the house to be photographed, but I needed to understand it. [00:21:15] So this polystyrene head, with its macabre eyeballs, was my go to. I stuck it, I skewered it, like Queen Elizabeth would have done. And off with the head, I said! I skewered it on a pole of some description and stuck it in the middle of the room. And, that's how I learned to light. It was all with this Elinchrom 500, the, the, this brilliant bit of light, and I still own it. [00:21:40] I still have it, it's still in the attic, unfortunately the tube was blown, you can actually see that there's black in there. The rest of it I'm sure still works so if I actually sent it back for a replacement tube, I could probably get it working again. I don't know that I will maybe I will, maybe I will, because the footnote to this story is that last week, Elinchrom asked me if I would be an ambassador. [00:22:03] for them. Now, this comes off the back of a conversation where I'd looked at the Elinchrom lighting at the London the Society's Convention of Photographers in London, and got chatting to the guys, Simon Burfoot and the, and the guys, uh, at Elinchrom, people I've known for quite a long time. He used to work at the Flash Sensor, he's now looking after Elinchrom, so I got to chatting to him about the lights had a look over the product, had a look at what they're producing, both in terms of the technology, in terms of the roadmap in terms of the light that these things produce, and the light has the same quality that I remember with my Elinchrom 500. [00:22:38] Now the thing is, if you look at the cover of the box, Book, Mastering Portrait Photography. That was shot in a study in somebody's house with my very first light. It was shot with my Elinchrom 500, my 6 foot Octa, which was wedged in because the ceiling was only just 6 foot, so we had to wedge this thing in on its tripod in their room with some black velvet behind. [00:23:01] Pinned to the curtain rail, and it's still, to this day, one of my favourite ever shots. And, when you go to Elinchrom, one of the things I've always loved about them is the colour accuracy of the tube. Now, every time you ignite um, Xenon in a tube, it gives off a very particular light. For all sorts of reasons with the, to do with the design of the circuitry and the light, getting that right is really important. [00:23:26] And Elinchrom have always had this really beautifully consistent quality of light out of the units. Now I moved away from Elinchrom about six, seven years ago, I think to Profoto for the simple reason that And maybe it's a bit longer, but for the simple reason that when I went looking for a battery powered, rather than a mains powered monoblock. [00:23:48] Now a monoblock strobe is simply when everything is in the head, as opposed to a battery pack and the small flying heads. I didn't want that. I wanted something that was self contained. I wanted something with a battery. I wanted something with no cabling. And so when I went to Elinchrom at that time, they didn't do anything. [00:24:04] I think even now I have eight Elinchrom lights up in the attic. And I had to retire them because I went over to ProPhoto who produced the B1. The B1 is an excellent light. It's brilliant. There's, you know, it did everything and has done everything that I would ask of a light over the years. Beautiful kit, beautiful lighting, beautiful modifiers. [00:24:26] They're having said that I've kept all of my Elinchrom soft boxes because the Rotalux system is the best in the world and I still prefer it to my Profoto stuff. But nonetheless, you know, there's no doubting the quality of the Profoto units, and there's no doubting that I've created some images that I really like with it, But I've never felt the same nostalgia as I have with Elinchrom. And so when Elinchrom showed me their kit at the convention, it's you know what, I would absolutely love, love to switch back. It's about time that I thought about it. And so I asked the guys if I could get a price on a full rig of kit, switch over to Elinchrom and it went a little bit quiet if I'm honest. [00:25:12] I'd sent the email, I'd listed out what I wanted and then I got a quick message saying was I around the other morning, could they pop into the studio and come and see us, and Simon and Mark from Elinchrom popped into the studio, had a look around, and during that conversation asked if I would be an ambassador for Elinchrom. So for the first time in quite a long time I got a little bit emotional about kit. I do get attached to kit. Even though the Profoto stuff is brilliant, I've never felt that way about that. But with Elinchrom, it was that first light. It was that first moment that I learned to read and and understand Studio Lighting. [00:25:54] And to be asked to be an ambassador is, it has a couple of angles on it. I mean, the first and most important is that what an honor, you know, this is a lighting company who I have so much of an emotional connection with, and here I am 20 years after buying my very first secondhand light, here I am as an ambassador for them. [00:26:17] So I'm quite emotional about that. But also the kit is so. Phenomenal. There's something about the way it works, the way it operates. It feels like photographers designed it for photographers. So, I'm very happy. They've lent me some kit at the moment. Now, I have a bit of a challenge tomorrow. Tomorrow, I'm running a workshop. [00:26:35] It's a workshop. All around, using studio lighting of various types in small spaces. Because if you go out into location, you very often end up in a boardroom or a kitchen. Well, the other day we ended up in a storeroom for computer equipment. It was quite bizarre where we were working. And you have to very quickly read the room, figure out what you're gonna do, and create something. [00:26:59] Magical from it. So, that's what we're doing tomorrow. And of course, it's premised on using my strobes. Now, understandably and I suppose predictably, Elinchrom are not that keen that I continue to use Profoto kit, my Profoto lighting for my workshops. So at 9. 30 tomorrow morning on the day of workshop, I am expecting a delivery of a whole load of Elinchrom kit that I'm going to actually then use for the training day. [00:27:33] Interesting, huh? It's a good job that not only did I learn to use light, but I'm really quick to get my head round the technology. Now they did leave me the other day with an Elinchrom 5 and an Elinchrom 3. And fortunately I have a trigger. I have a dedicated Elinchrom trigger anyway. Bye! From some Rotolight kit, which also uses, thankfully Elinchrom radio telemetry. [00:28:00] So, I've got the, I've got the Elinchrom trigger. Now, as an aside, here's a little bit of detail, right? This is just a bit of detail. It doesn't, it has no bearing on anything, really. My Profoto dedicated Nikon trigger. The something or else, something or else. Is it AirTTL, TTL, TTL? Unit. If I leave the batteries in it, it goes flat in about 10 days, even if it's switched off. [00:28:25] I pulled the Elinchrom trigger out of its box, having not used it as a trigger in probably three years, forgot that I'd left the batteries in there, which is a dreadful thing to do, never leave batteries in kit when you store it, but I had, so I hit the power button thinking, oh, that's not gonna work. Nope, fired up instantly. [00:28:43] There is a joy when you're When someone designs kit properly, there is a joy in it. This Elinchrom trigger has had those batteries in it for as long as I can remember. I can't remember the last time I used it as a trigger, and it fired up instantly. I know for a fact my Profoto unit would have been dead in 10 days. [00:29:02] And as designers of kit, this is a plea to everybody who designs for our beautiful industry. It's for good. Goodness sake, think this stuff through properly. You know, if you're going to turn something off, it shouldn't be draining enough current to flat a pair of AAA's in 10 days. It just shouldn't. [00:29:21] Because many of us don't pick up our triggers in those kinds of time frames. Many of us would just be out, you know, location photographers that use the strobes intermittently. So think about that. Think about how, um, The kit is going to be used in design. Even the circuitry has to be designed in a way that makes sense. [00:29:40] You know, Elinchrom, this unit, it's been in its box. It's still boxed. It's been in its box for a few years. Powered it up because I'd forgotten to take the batteries out. Nope, quite happy. Right, where do I go? Downloaded the new firmware because it's so old that It doesn't actually know about or didn't know about 3. [00:29:57] They weren't on its list of recognized Elenchrom lighting. Connected it up, and off it went. Just genius. That's I'm sorry though, that is an aside. Anyway, tomorrow morning, tomorrow morning, I've got a handful of delegates we've got a room full of people, a couple of models, and some lights that I have never ever seen. [00:30:13] ever used in anger. It's going to be an exciting day. Other good news this week so that's, I mean that is my good news this week, but other good news this week is that I finally managed to get our broadband account sorted out. We live in funny times my broadband contract had come up a little while ago with BT. [00:30:32] Um, I've got both the house and the studio are on the same contract because primarily we use it. all of the bandwidth for when I'm working, and I like to be able to work from home a lot. And we're paying, I don't know, I think nearly, I think we're paying 300 quid a month for the two. So I'd rung BT a couple of weeks ago and said, right, it's time to renew because I'm out of contract. [00:30:53] I will stay with BT although there are other providers in the village now, their reputation is awful, so I can't build my business on that. And while BT might be a little bit dull. They're also the most reliable. This is British Telecom. It used to be British Telecom. Isn't it interesting how a brand evolves to be known as BT? [00:31:12] But it has to have such a long history. You know, if you say BA, we know we're talking about British Airways. If you say BT, you know you're talking about British Telecom. You know, I've no idea in any more what ICI Stands for, we know what it does though. Interesting to see if the BIPP, the BIP, or the British Institute of Professional Photography can evolve the same way. [00:31:33] Time will tell. Anyway, BT, so I rang them up spent the best part of half a day on the phone because you have to. I'm sorry, we're experiencing a very high volume of calls at the moment. Your call is important, and we will get back to you as soon as we can. Yeah, right. There's only, there's one call handler, but I have no idea, but there's certainly not enough. [00:31:52] So anyway, I got through a long conversation, got both contracts more or less nailed, or the one contract with both lines more or less nailed, and our bill came down by two thirds. My speed went up, I'm on a digital line, my bill came down. You have to think, maybe I was being stitched before, or maybe I built a bad contract before, but anyway, that was half a day well spent. [00:32:15] So, and it's, I mean, it's like, you know, it's 300 quid a month, or was. It's now for the two lines, 100 quid a month and I've got gigabit down, 100 megabit up, and life is pretty good. But the delivery cycle of it, I've no idea. I mean, I get random boxes, I get random texts from DHL, or FedEx, or Royal Mail, as to what's going to arrive when, it's I couldn't make head nor tail of it. [00:32:39] Sarah said, when are they connecting us? Well, I've got this date, Monday the 11th. Okay, Monday the 11th, that's brilliant. Monday the 11th, that's when they're going to connect everything up. Monday the 11th. Right, are we sure about that? Yeah, Monday the 11th, I've got an email here. Monday the 11th. F Thursday, before that, what's that, 11th, 10th, 9th, 8th, so Thursday the 7th, I get I walk into the office 10 o'clock, and Michelle says, phone line's dead, and I'm like, can't be dead. [00:33:05] Why would it be dead? I look at the hub for the broadband, the broadband's working okay, but no telephone, and they say, oh, you are kidding me. They've switched it over four days early. Now, I'd had some text saying the engineer was working on our line, and the engineer had completed his work, but at no time, at no time, did it tell me which of the two lines were being affected and what they'd done. [00:33:30] So I rock up on Thursday to find no telephone. Now, again, fortunately, we'd had the digital phones arrive. They were in their boxes, but I hadn't set anything up yet because I had been told it was all going to happen on Monday the 11th of March. Have I got those dates right? Yeah, I'm sure it's Monday the 11th of March. [00:33:49] Monday whichever day it was, only the Monday of March. And, so I'm very frantic, because at this point, anybody that rings us up isn't going to get through. I didn't know even if we had voicemail because I got, none of it is done as far as I'm concerned. So we rattly, a bit of a rattly morning as I sort of ripped out the old phones, put in these new digital lines, logged in, set it all up, got admin rights, because of course it's basically VoIP is nothing more than Zoom without pictures. [00:34:18] So. And I got all of that set up and all of it is now working, but it got me thinking, and here we go. This is the point of this bit of this podcast. Now, I don't know whether the second half of the podcast is gonna be the second half of this podcast as I drive back from the photography show or whether I'm gonna release that as an entirely self-contained episode. [00:34:39] I guess it depends how much news I find at the photography show. But let's assume. This is a self-contained driving to the NEC Podcast, and it's done. This is the point of this podcast. I've told you three stories, okay? I've told you about the RAC, I've told you about the garage, and I've told you about British Telecom. [00:34:59] All of these have been suppliers that I would say on the whole, I rate pretty highly, the RAC. They've got me out of a pretty horrible situation. I pay money for that. By the way. It's not like they're, they're definitely not a charity. It's not the NHS, but. They rescued me when I needed it. Admittedly, they weren't clear about when and how, and it took quite a long time, but I'd have been in a lot of trouble if I couldn't have got off that motorway, and the car was undriveable. [00:35:26] Our garage. I know they fixed it because they always fixed it. But I do wish they'd be clear. I do wish they'd tell me how much, to the best of their knowledge, it's going to cost me. I don't like obfuscation. I don't like not knowing how long it's going to take. They've had the car for three weeks to do a week's worth of work. [00:35:44] Again, I know they've had to order parts. In a sense, I'm an experienced buyer. And then there's BT, who They told me certain things and then did them in a different order on different dates and put me into a flat spin when they disconnected the phone line to my business. All of these are quite important. [00:36:04] It's about clarity. It's about being clear with your client. It's about When you say you're going to do something, you do it. Now there is a theory about under promising and over delivering. So being, having things connected early, in theory, should be a good thing. But it's only a good thing if your client's ready for it and their new phone's ready. [00:36:25] If they're not, what you've basically done is disable part of their business for part of a day. Clarity is really important. For me, even now, I go back through the BT, various texts and emails, and even I After the event, couldn't tell you exactly what was supposed to happen, and the order. I still have some stuff to do, I still have to send some kit back, but, because I've got these two lines into two different buildings being contracted at the same time, none of the emails make sense, because they send both emails, or rather they send emails for both lines, on the same contract number. [00:37:02] It's never clear exactly what is going on. It's not clear. that some kit is going to work and some kit is not going to work. It's not clear quite what should have happened. And that can't be a good thing. That can't be a good thing when I'm sitting here telling you about three suppliers who I rate actually pretty highly. [00:37:21] I've chosen them through years of experience, I've picked them out of the crowd, and I've decided who I'm going to use. Are they all working now? Well, as far as I know, they are. RAC rescued me, the garage has rung me to say the car is ready, and I have Absolutely electric connectivity in our building or buildings, but the confusion is unnecessary. [00:37:43] The confusion, had that confusion happened in the sales process, I don't know whether I would have bought. It didn't happen in the sales process, it happened in the fulfillment side. So the sales guys, they got it nailed. When I bought my RAC, Membership, I don't know how many years ago. The guy was utterly convincing. [00:38:05] When I bought my BT contract, the guys were utterly convincing and of course when I go to the garage, well, the first time I went to the garage, I went reputationally because somebody else had recommended them. I bought instantly because they were They were utterly convincing. The problem happens in the fulfilment stages. [00:38:27] And as such, I think we need to keep an eye on that. We need to be very clear to our clients, exactly what it is that we're going to do, and when we're going to do it. I was doing a wedding pitch yesterday. And I had to be, and I've, I mean I've well practiced at it, I've done it a long time. I say to them, okay, here's the process. [00:38:45] I actually talk them through the fulfillment process. We talk loads about the wedding, but then I go through to the fulfillment process, and I suspect occasionally I lose a gig because of it, because maybe it sounds just a little bit too boring. Precise. I don't know. But, I said to the client yesterday, who are buying with us, by the way, you come to the studio two to three weeks after your wedding. [00:39:10] That gives you enough time to have a short honeymoon. If it needs to be longer, or you want it shorter, we can do that. Two to three weeks, you're gonna come, you're gonna have lunch. During that meeting, we are gonna show you a slideshow. We're gonna melt your hearts. I do say this. We're gonna say, I'm gonna soften your wallet, [00:39:27] We are gonna make life very difficult for you to say no to any pictures. Then we're gonna bring up those pictures and we're gonna, we are gonna help you choose the pictures that are going to go in your album. It's a lovely process, but it's not an easy process, so we're going to give you some lunch. [00:39:42] It'll take a few hours. At the end of that, you're going to pay for the extra images you put in your album. I'd say that a little bit softer, but that's what I'm saying. You're going to settle up with us as to the images that are going to go into your album, on top of the ones you've already paid for as part of your initial contract. [00:40:00] Then, We're going to give you a USB that has watermarked images of everything we've shown you, and the slideshow of the, uh, that we showed you in that reveal. We license the music, by the way, with the MCPS, so you can have any music you like. So, you let us know what music you like. That's what your slideshow will be set to. [00:40:19] It'll be on a USB. At the end of the meeting, when you've settled up with us, that's what you take away with you. The next morning, we start working on that design. Within a week, maybe two, depending on what's going on in the studio, we will send you a PDF that shows that design. You have a look at it and decide whether you like it or not, or if there's anything you'd like to change. [00:40:40] And the things we're looking for from you are A. Do you like the design? And B. Is there anything in any of the images that needs additional retouching? Fire exit signs, those kinds of things. When you eventually sign off the design, and you can go backwards and forwards as much as you like, by the way, because the most important thing is that you love your album more than anything else in the world. [00:41:02] You're going to have that for the rest of your lives together. You must love it. You make as many changes as you want. Yes, okay, by iteration number seven or eight, we might be rolling our eyes at you. But we will still do it, and we will get it perfect for you. When you're happy, you sign that off. We will do two things. [00:41:20] Firstly, we will order your album and any copy albums you need. I don't say it like this, I'm saying it really clearly because I'm driving a car at 70 mile an hour and I'm trying to make this clear. But nonetheless, this is the process, right? Uh, I say we will order that album and any additional copies you'd like. [00:41:35] Eight weeks after that, as a maximum, you will have your album in your hands. The actual order time, by the way, is shorter than this, but we always say, 8 weeks, because then I'm under promising and over delivering. You will also receive a link online that has a link to the finished images. The edits that we've done for you without the watermarks, because part of what we do is any image a client puts in their album, we will give them a digital copy of that as part of the contract. [00:42:06] We charge quite a lot of money for this, so it's fine that they can have the files, but we only release the finished files. When the album design is signed off. Why do I do it that way? Well, it gives me a couple of things. Firstly, it gives me a lever to pull when people are saying, Can I have a file? And I say, Yeah, as soon as you sign off your album. [00:42:23] The second thing is, The only hi res files that go out are fully retouched and finished. There's no danger that an artist Unretouched image can end up in a big frame on someone's wall. So that's why we do it that way. And I'm really clear about that fulfillment process to the client. Now, I think there's other bits of our business where we're not so clear and I'm figuring out those areas and trying to work out and make sure that everything we do is super, super clear because the experience I've had with three suppliers who genuinely, I rate, genuinely. [00:42:58] I'm happy to pay for their services. I think it's been a little bit muddled and a little bit muddy. And that, well, that can never be a good. Do you know what? I'm going to round this podcast off there and I'm going to make the journey away from the photography show another edition which I might release at a later date because that gives me extra content, right? [00:43:20] For those of you, for those of you who are part of our workshop community, we released a new challenge last night. So we, inside, anyone that's been on our workshops, you get invited into a secret and private Facebook group. The only way you can get in there is by being on one of our workshops because that is creating a super concentrated little audience, a little community rather. [00:43:42] of like minded people who can ask questions in a way that is safe, a way that is positive, and you get feedback from others in there. It's a really nice community. On top of that, people like Simon and Mark from Elinchrom are inside the group, so that if you have any specific questions about flash photography not only will you get answers from people who run the group companies based around this kit. [00:44:06] Of course they're going to bias their answers towards Elinchrom, but hey, I'm an ambassador for them. So what else would you expect me to say? Likewise Jeremy and Miranda and the team from Neal and the team from Graphistudio are in there. So if you have any questions about albums and those kind of things, it's just a really nice place to be. [00:44:21] But we run these image challenges. The current challenge which I released last night is the one chair challenge. Take a subject, take one chair, just one chair, and pop a photograph into the community. And then at the end of the month, I have a run through them, pick out my favourite, do a video critique, and set a new challenge. [00:44:41] And we did this one because the article is featured in Professional Photo Magazine this month from us. We do an article every month, but this particular one is of Lucy in a chair, and it's just a simple shot of a teenager. Just looking super cool in what is my Nan's old throne, old armchair. So that's that community thing. [00:45:02] Workshops, if anyone's interested in any of our workshops, just Google Paul Wilkinson Photography Workshops. You will find them they'll pop up in Google and And then you can see what's going on at the moment. The tomorrow's workshop is all about small spaces and it wasn't, but it now is about how to use Elinchrom lighting in small spaces. [00:45:21] We'll see quite how that adventure goes, so to wrap up, let's overtake this tanker in tons of spray. Thank you for listening to this podcast. It's kept me entertained for at least half of my journey up to Birmingham. If you have any questions, please do email paul@ paulwilkinsonphotography.co.Uk. I've had a couple of really nice emails in the past few weeks. Apologies. I know I've been a little bit slow in getting back to everybody, but it really has been a . a tiny bit, a tiny bit crazy at the studio but also head across to masteringportraitphotography. com which has a heap of stuff all around this beautiful skill of ours or topic of ours the joy, the creativity and the business of portrait photography. [00:46:08] Head over to masteringportraitphotography. com and do please subscribe. Hit that subscribe button. I don't know how you're listening to this right now, but I'll lay you a bet there's a subscribe button there somewhere. Subscribe to the podcast and then it just arrives. You know, you didn't even know you were going to listen to me today, and there you are. [00:46:26] Forty minutes later, whatever it is, I've no idea how long I've been driving and talking forty minutes later, you are sitting thinking, Well, that was worthwhile! Do you know what? I'm really glad I hit that subscribe button. Also, if you get a chance, leave us a review. [00:46:39] If it's a nice review, stick it somewhere public. If it's not such a nice review, email it to me, and then we can make changes to make things better, which is a constant process of evolution. Me and Darwin, well, we'd be great mates. And whatever else, as I head my way north, be kind to yourself. Take care.
For this, the 64th episode of the Camerosity Podcast, the gang finally devotes our full attention to one of the most popular brands of cameras ever made. A camera brand that was so popular, they named the entire company after it, the Rolleiflex! Originally founded by two ex Voigtländer employees who had an idea on how to build a better soldier's camera, a new company called Franke & Heidecke was created, and from there, a whole legacy of twin lens, and eventual single lens reflexes was born. Joining Anthony, Paul, Theo, and Mike are returning callers Bill Smith, John Roberts, Marc Gordon, Patrick Casey, Rafael Espinosa, Tim Peters, and first time callers Dean Robinson and Steve "Johnny Appleseed" Lederman. In this episode, we will cover the early history of the company, how Paul Franke and Reinhold Heidecke first got started, the early and later Rolleiflex and Rolleicord TLRs. We also cover their transition into both medium format and 35mm SLRs, the compact Rollei 35, the Cosina made Rollei 35 RF, and a few other Rollei models. We ask the tough questions like what is the difference between a Rolleiflex and Rolleicord, are the triplet lenses really that much worse than the Tessars, are German Rolleis better than Singapore Rolleis, and what are everyone's favorite models. In addition to Rollei GAS, we briefly discuss a strange Japanese Rollei copy, why people tend to blend in better using cameras with waist level vs eye level viewfinders, the confusing transition from Voigtländer, Zeiss-Ikon to Rollei, and whether or not Vivian Maier was creepy. 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 new to shooting and are interested in having an episode dedicated to people new to the hobby, 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 are finally going across the pond for another European time zone friendly episode. If you are a fan of the show but are asleep or otherwise unable to join us for our regular recordings, this is the episode for you! We will record Episode 65 on Monday, February 12th at Noon Central Standard Time (-6 UTC), 1pm Eastern Standard Time (-5 UTC), 6pm Greenwich Mean Time (+0 UTC), 7pm Central European Time (+1 UTC), and 5am Tuesday morning Australian Eastern Daylight Time (+11 UTC). We look forward to hearing from you! In This Episode Rollei Almost Didn't Exist / Paul Franke and Reinhold Heidecke Originally Worked for Voigtländer The Original Idea for the Rolleiflex Was to Be an Improved Vest Pocket Camera Franke & Heidecke Heidscop / Rolleidoscop The Rolleiflex First Went on Sale in 1929 / It Is Difficult to Tell Every Rollei Apart Early Rolleiflexes Were Designed for 117 Film / Some Were Modified to Use 620 Film Differences Between Rolleiflex and Rolleicords / Dim Viewfinders Was the 1950s the "Golden Era of Rollei"? / Triplet Lenses Can Sometimes Be Very Sharp Mike's First Attempt at Repairing a Rolleiflex Old Standard Rolleiflex T and Rolleimagic / TLRs with Interchangeable Lenses / Bay Filter Mounts Japanese Rollei Copy, the Rollekonter / Meopta Flexaret TLRs Rolleiflexes Are Precision Machines That Require Regular Service and Cleaning Honeywell Distributed Rolleiflexes in the US For a While Heinrich Peesel / Rollei 35 / Rolleiflex SLRs / Ifbaflex SLR Rolleiflex SL66 Medium Format SLR / Rolleiflex SL26 Instamatic / Rollei A110 and E110 The Confusing Transition from Voigtländer to Zeiss-Ikon to Rollei German Made Rolleis vs Singapore Made Rolleis / Triplets vs Better Lenses Cropping 6x6 Images / TLRs Are Great for Street Photography Vivian Maier / Being Confronted While Out Photographing People Mike Loves Vivian Maier's Work But Thinks She Was Probably a Little Creepy Cosina Made Rollei 35 RF is Based off the Bessa R2 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. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris and https://www.etsy.com/shop/Camerasandpictures Anthony Rue - https://www.instagram.com/kino_pravda/ and https://www.facebook.com/VoltaGNV/
Season 4 Episode 16 - Rolling back to Rolleiflex. Welcome back to a new episode of Bringing It All Back Home - this one is all about the risks & rewards of jumping into the bargain priced level of Rollei known as the Automat series. Is it worth the gamble? Are you prepared to wait 6 months for a CLA? Is it possible to plunge ahead with these 75 year old cameras and ignore the various repair needs? Tune in and check it out! Mentioned: Rolleiflex 3.5 MX Automat model K4A (X sync), Schneider Kreuznach Xenar, Harry Fleener, Mark Hansen, Mamiya C33. --- Send in a voice message: https://podcasters.spotify.com/pod/show/charles-kershenblatt8/message
The big news in Episode № 64 of I Dream of Cameras is the release of Harman Phoenix, a brand-new experimental color film from the company we insist on calling Ilford ‘cause they didn't give us free stuff. Also covered: notable cameras of 1959; fun with Lomochrome Turquoise; Gabe's recent five-camera all-film photo shoot; the growing cult of the Minolta P's; last-minute holiday gift ideas; and tons of blowback in the Prodigious Mailbag!Cameras of 1959:Leica M1Minolta SR-1Tele-Rolleiflexdebut of the Nikon Fthe original one-lug Olympus Pen (made not by Olympus, but Sanko Shoji)Asahi Pentax S2 / H2Zeiss Ikon Contaflex SuperThe Russian Mir (a simplified Zorki 4)Gabe went to The Darkroom for the exciting debut of Harman Phoenix, a brand-new film from a company we insist on calling Ilford ‘cause they didn't give us free stuffLabs working with this film are running smack into The Scannenberg Uncertainty PrincipleJeff had a blast shooting Lomochrome Turquoise with his rare and exotic Mamiya/Sekor 2000 DTLMeanwhile, Gabe's been shooting with his cheap 'n' cheerful Canon Rebel 2000 + 40mm f2.8 pancake lens — the results blew him away!He also recently did an all-film shoot with the Contax 645, Rolleiflex 2.8E2, Yashica T4, Leica M6… and Minolta P's! P's Mania rolls on! Directing NBC's new sitcom Extended Family, Jeff did some set photography with his beloved Olympus Pen EE-3. 78 shots on a roll!Holiday gift ideas! Jeff recently acquired some excellent photo books:Apollo VII - XVIIHasselblad - The Camera System 50 Years 1948-1998New York in PhotobooksWhy not our new Alan Daly t-shirt, or something else from our burgeoning merch page? Or Rachel's Brewster-Wright's Ultimate Film & Darkroom WorkbookA dip into our Prodigious Mailbag™, featuring:More Vivian Maier blowback from our 50th episode - as revenge, Viv will be getting a one-woman show at Fotografiska New York in May 2024An excellent photo club, The Slow Camera ExchangeA wonderful 1942 article from The Atlantic, The Dream Camera
As we begin episodes numbered in the sixties, the Camerosity crew decided we haven't heard enough from our listeners, so rather than devote Episode 60 to one specific brand, style, or region of cameras, we decided to put out the call for a Listener's Choice episode! Messages were plastered all over social media, Facebook, our new Discord server asking you all to join us, share with us what you've been shooting lately, any recent GAS you've picked up or are thinking of picking up, ask any questions of the hosts or other guests, whatever you wanted. And boy, did you all respond! With a total of 18 participants on this show, Anthony, Paul, Theo, and Mike were joined by returning callers Patrick Rapps, Andrew Smith, Mario and Julienne Piper, Greg McCreash, Marcy Merrill, Marc Gordon, Kyle Liu, and first time callers, AJ Gentile, Bill Chou, Bill Vitiello, Joseph Schallmo, Sam Kellett, and Tim Peters! We went around the room and asked each caller what they've been up to, and if you were to have asked me and the other hosts what types of cameras would be discussed, none of us would have predicted the number of early 20th century box cameras, large Graflex SLRs, military cameras, and other oddball stuff that camera geeks like us love! Of course, there was plenty of love for Rolleis, the Nikon S2, the Minolta X-700, Argus C3, Voigtländer Bessa, Yashica 44 and many more. In addition to camera GAS, Julienne Piper shares with us her method for making 122 size roll film out of computer paper, shooting dry plates, making your own bellows, how Mike once used a garbage bag to keep light out of a camera, and much, MUCH more! 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 new to shooting and are interested in having an episode dedicated to people new to the hobby, 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 the next episode of the show, we would like to focus on a subset of cameras that get mentioned often, but we rarely spend more than a short passing moment on them, compact point and shoots. For many, point and shoot cameras represent the cheapest and simplest entry into film photography, but therein lies their strengths. With a good number of point and shoots featuring a high quality lens, a point and shoot offers a level of convenience and spontaneity that larger, more feature rich cameras can't match. If you've ever tried capturing a fleeting moment of a child playing with a puppy using a falling plate camera or an early roll film camera you'll know that perhaps that Nikon L35AF is just what the doctor ordered! We will record Episode 61 on Monday, December 11th so be sure to look out for the show announcement 2-3 days before then! In This Episode Patrick Rapps has Panoramic GAS and Figured Out How to Repair a No. 1 Panoram-Kodak Everyone Has a Panoram-Kodak / 105 Roll Film Compared to 120 Marcy Bought a Novelty Yashica MF-1 in Japan and Then Ruined An Entire Roll of Film Anthony Only Found the Super Expensive Camera Stores in Japan / Mamiya U Repair / Bill Rogers Andrew Smith is Trying Not to Buy New Stuff / Chinese Light Lens Labs ELCAN 50/2 Collapsible Lens Ricoh 500 and Bottom Trigger Cameras / Leicavit / Canon VT Rangefinders / Riken Lenses Mario Piper Gets a Beautiful Spotmatic SP / Spotmatic ES and ESII / Nikon EL2 No 3A ANSCO Postcard Camera / Julienne Makes Her Own 122 Size Photographic Paper / Kodak Bullseye Falling Plate Camera / Empire State No. 2 Studio Camera Printer Paper is Not Light Tight / Shooting Cameras in Garbage Bags / Making Your Own Bellows Bill Loves the Bronica ETRC / Bronicas Are Very Sensitive to Degraded Foam Light Seals / Bronica S2 More Love for the Chinese ELCAM Lens Tim Shows Off His Kodak No.2 Bullseye Special / Folmer & Schwing Home Portrait Graflex Other Companies Made Zeiss Lenses in the Early 20th Century / Nikon S2 / UsedPhotoPro in Indianapolis / Nikon F with Selenium Meter Bill Vitiello Loves Every TLR / What is the Difference Between a Rolleiflex and Rolleicord? / Rolleiflex T The Camerosity Podcast Saves Lives! / Minolta X-700 / Argus C3 with Sandmar 35mm Lens Adapting DKL Mount Lenses / Most DKL Adapters Suck / A Brief History of the Deckel Mount Wet Plate Collodion Process / AJ's Nagaoka 5x7 Field Camera / Where to Get 2x3 Sheet Film Voigtländer Bessa I / Ilford's Special Order Film / Leica IIIF Shooting Dry Plates / Some Guy Built a Camera Into His Van / Making Positives from Negatives Yashica 44 / 127 Film / Adapting to 35mm Rerapan and Shanghai 127 Film / Cutting Bulk 46mm Film to 127 / Imperial 127 Delta Paul Loves his Polaroid Snap Touch Instant Camera / Paul Sends Greg a Box o' Stuff Greg McCreash Loves Military Cameras / Combat Graflex / The US Military Often Used Bronica Cameras Mike's Recent GAS / National Graflex / Yashica YF 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 or Instagram page, or email us at camerosity.podcast@gmail.com. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Mario and Julienne Piper - https://www.instagram.com/genxphotogpod/ Marcy Merrill - https://junkstorecameras.com/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris and https://www.etsy.com/shop/Camerasandpictures Anthony Rue - https://www.instagram.com/kino_pravda/ and https://www.facebook.com/VoltaGNV/
Lee Miller may have been best known in life as a beautiful muse of the legendary Surrealist Man Ray yet, shortly after her passing, a lucky accident led her family to an attic treasure trove, which made her a photography legend in her own right. During this week's podcast, we unpack the details of this extraordinary tale, and hear many other anecdotes from Miller's adventurous life, in a chat with her son and biographer, Antony Penrose. From her swift ascent as a '20s-era Vogue fashion model—and the ad campaign that sidelined her appeal—to her audacious exploits as an accredited war correspondent for the very same magazine, Penrose sheds light on a woman who lived many lives, as exemplified in the title of his first book. Miller's remarkable bravery as a World War II combat photographer was recently immortalized in the feature film “Lee,” starring Kate Winslet, which is another facet of our chat. Penrose describes what it was like to work with the actress as she plumbed Miller's archive for her character development, how she mastered the operation of a custom-made Rolleiflex, and how the camera became a personality in itself as part of the film. Penrose had a troubled relationship with his mother during much of her life, as she struggled with PTSD and the enduring effects wartime atrocities had on her psyche. His reflections on her struggles and her accomplishments reveal the very human core of a creative powerhouse who lived in the moment, in true Surrealist fashion. “This person who I had dismissed as being a useless drunk, now had other dimensions to her, which I was totally astonished by,” recounts Penrose about the treasures she left behind in the attic. “… it had never occurred to me that her career was so distinguished, and so varied, and so absolutely groundbreaking in terms of being a woman war correspondent. And so, that's how it began.” So, pop in your earbuds and listen in… this is an episode you won't want to miss! Above photograph © 2023 Lee Miller Archives, England. All rights reserved. www.leemiller.co.uk Guests: Antony Penrose For more information on our guest and the gear he uses, see: https://www.bhphotovideo.com/explora/podcasts/photography/lee-miller-combat-photographer-fashion-model-muse-with-antony-penrose Stay Connected: Lee Miller Archives at Farleys House: https://www.leemiller.co.uk/ Lee Miller: Photographs book: https://www.thamesandhudsonusa.com/books/lee-miller-photographs-hardcover The Lives of Lee Miller biography: https://www.thamesandhudsonusa.com/books/the-lives-of-lee-miller-softcover The film “Lee” on IMDB: https://www.imdb.com/title/tt5112584/ “Surrealist Lee Miller”” exhibit in Melbourne, Australia: https://www.heide.com.au/exhibitions/surrealist-lee-miller/ “Lee Miller in Print” exhibit in Rotterdam: https://www.boijmans.nl/en/exhibitions/lee-miller-in-print “Seeing is Believing: Lee Miller & Friends” exhibit at Gagosian Gallery: https://gagosian.com/exhibitions/2023/seeing-is-believing-lee-miller-and-friends/
Gabe goes to a celebrity wedding; Jeff appears in Vogue Portugal. Gabe has a birthday; Jeff has a breakdown. And all the while, they scour the globe in search of the world's finest vintage camera shops. Tune in for pulled pork and wienerschnitzel and much, much more!Cameras of '61:Olympus Pen EECanon 7Rolleiflex wide-anglePentax H1/S1A vintage Hasselblad 500c ad: What could possibly make a camera worth $550?Gabe had a birthday and received a photo-themed gift: Life Magazine and the Power of Photography, featuring his beloved Gordon ParksOur corporate retreat in Austin, Texas featured visits to The Camera Exchange and Austin Camera, followed by BBQ at Rollin' Smoke, where you get a free beer with your tipGabe's verdict on the Nikon 28Ti: he agrees it's boring and prefers the Yashica T4!Jeff's Pentax ES II mega-saga: if your stuff gets damaged by UPS, submit a claim! As for Electro Spotmatics of all sorts, never again!The new I'm Back digital insert for 35mm cameras is larger than it appears - would you do it?We were gifted a complete set of Atlanta Film Co. films from Bill ManningJeff returned to Vienna, which is vintage camera heaven! Notable stops included Camera 31, Westlicht, Jo Geier, United Camera and the astounding Photo BörseMore security hassles in Frankfurt - next time, lie about your ISO!Gabe's been shooting with his Rolleiflex and Leica M6Jeff spent some time with Leica photographer Pat DomingoAlso a shout-out to Branislav Simoncik, who shot P for Vogue PortugalStarting with Episode 17, the subtitles on the episode page at idreamofcameras.com became delightfully obscure references, yet nobody ever mentions them. Y'all paying attention?
durée : 00:20:00 - Les Nuits de France Culture - par : Philippe Garbit - En 1964, le photographe Brassaï répondait à Roger Grenier. Il évoquait ses photographies, les villes de Paris et New-York, ses amis Prévert et Henry Miller... Le photographe Brassaï répondait à Roger Grenier en 1964. Le photographe de Paris, et particulièrement de Paris la nuit, évoquait cependant longuement New-York et la photographie couleur qu'il avait expérimenté dans cette ville avec son Rolleiflex : * J'aime surtout Paris et si j'ai fait beaucoup de voyages c'est aussi pour revenir à Paris avec des yeux frais. Quand on revient du Brésil ou de New-York on voit Paris tout à fait différemment. Surtout New-York c'est une ville infernale mais d'une grande beauté. L'art moderne n'a jamais rien fait d'aussi beau que New-York la nuit. Je ne pouvais pas m'habituer à cette féerie nocturne. Production : Roger Grenier Entretiens avec Brassaï, 5 : 1ère diffusion : 14/10/1964 1ère diffusion : Indexation web : Sandrine England, Documentation de Radio France Archive INA-Radio France
De beroemde fotograaf Eva Besnyö was tijdens haar 93-jarige leven niet alleen getuige van, maar ook drijvende kracht achter belangrijke ontwikkelingen in de fotografie. In het beeld 'Vrouwelijk naakt' zien we een naakte jonge vrouw door de lens van een vrouwelijke fotograaf. En gefotografeerd op een manier die toen net in opkomst was. Janine Abbring spreekt erover met conservator fotografie Mattie Boom.Wil je weten hoe deze foto eruitziet? Ga dan naar www.rijksmuseum.nl/podcastIn het Rijksmuseum is powered by ING.
Hello, oh-oh, Vienna calling! Jeff's in the City of Dreams for Episode № 55 of I Dream of Cameras, featuring talk of travel, model shoots and being trailed by paparazzi. Do they swoon for the XPan? Find out in this globe-spanning dispatch!Jeff's in Vienna, Austria for this one!Cameras of 1968:Petri Color 35Fed MikronKonica Autoreflex TPraktica Super TLGabe's been going to a lot of camera meetups ‘cause Jeff has abandoned himJeff talks about the nature of his globetrotting adventure: Bratislava, Brno, Vienna, Prague, Karlovy Vary…Photographing picturesque cities, being trailed by paparazziThe cameras he brought: the Hasselblad XPan and the Olympus XA4 MacroThe XPan opens doors! photographers notice it — it's not a dilettante's camera — and this has led to some fascinating conversationsGabe's had a similar experience with Rollei TLRsThe XPan is a surprisingly great travel camera — between behind-the-scenes stuff and exotic Central European cities, Jeff's burning through two or three rolls of Kodak Portra 400 a dayKodak Ultramax 400 was cheaper but a bit disappointingalso in the queue: Portra 160 and FPP Color 125 (a.k.a. Svema)Jeff's getting an extraordinary insight into the collaboration between model and photographer on a fashion shootyesterday's photo shoot was with Leica Ambassador Pat Domingo, who used a Leica SL2 Reporter and a custom black chrome Hermes edition Leica M10-D with red leather and a 35mm Summicron that belonged to his fatherGabe had some struggles to get back in sync with his black-paint Leica M4Jeff's pretty good at judging exposure — are you?Gabe's also been out shooting with the Mamiya RZ67, the Hasselblad 501cm and the Rolleiflex 2.8E2And he's fascinated by the work of Saul LeiterAnd he's still enjoying the black Canonflex RM and Pentacon Six TLJeff's favorite black-and-white film is Double-X 250, a GREAT stock which for some reason isn't commercially available (except through Cinestill) — buy a 100-foot roll from Ultrafine Online and start bulk-loading!Jeff's East Coast lab of choice: picturehouse + smalldarkroom in Chelsea, NYCand finally, a dip into Das Prodigious Mailbag!
On this episode, Jess Hobbs drops by! Vania talks about the largest pinhole camera ever built, while Eric explains why Indigo isn't a real color. Jess dives into the weird "new" "Rolleiflex" "camera" prank. Jess: IG, YT There's also a zine review and some interesting banter concerning the differences between US breakfasts and Canadian breakfasts. And guess which one of us has never had Tang. THE CREDITS OF ENDING www.allthroughalens.com Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kit
Zwischen Blende und Zeit - Der Fotografie-Talk der fotocommunity
Das Foto "... things to make me happy ..." von Norbert H. ist ein schönes Beispiel dafür, dass wir uns viel öfter bewusst machen sollten, was uns glücklich macht. Fotografiert mit einer Rolleiflex zeigt er uns einen schönen Alltagsmoment, reduziert und auf den Punkt. Begleite uns gern mit einem Kaltgetränk durch das Foto.
Check out allthroughalens.com for full show notes and photos. On this episode of Dev Party, Eric (@conspiracy.of.cartographers on IG) and Vania (@surfmartian on IG) talk a bit about how they plan to incorporate last episode's inspiration into their lives. Vania shot Kodak Gold 200 in the Rolleiflex with a waterhousing. Eric shot some Foma 100 and devved it in FA-1027 (aka F76+) Vania was inspired by Eliza Withington, but there's not much you can do there, photographically speaking. It was Withington's lifestyle of traveling alone and photographing in the 1850s that caught Vania's eye. So here are some of Vania's photos: Meanwhile, Eric tried to do the impossible trying to straighten out a cooling tower so it wouldn't look wonky. Mostly, he just wanted to gain the skill perfected by Bernd & Hilla Becher. You'll see. Here are his: PATREON Thank you to everyone who supports us! Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff! patreon.com/allthroughalens THE CREDITS OF ENDING Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kits All Through a Lens: IG, Website, Patreon, Spotify Playlists
After a dive into our prodigious mailbag, bulging with talk of the newly reissued Leica M6, we essay a sweeping survey of the mighty marque known as Rollei. Gabe has nine Rolleiflex TLRs; Jeff has a Rollei 35 and a Rolleiflex SL350. Tune in — it's a gas, gas, gas!we skipped Episode № 43, deal with itquite a prodigious mailbag! featuring:much talk of the newly reissued 2022 Leica M6, which is NOT a limited edition - worth noting: there's a center dot between the two LED arrows in the viewfinder (à la the M6 TTL); no plastic shields under the strap lugs (‘cause the paint is hardier); the red dot says "Leitz" not "Leica"; it doesn't come in chrome; the only available finder is the .72; and the cost is $5,700. Who is this for?how ‘bout those high-end metal cassettes for bulk loading (e.g. FILCA and IXMOO, Shirley-Wellard, etc.) - are they any good?Jim Melcher made a video about stainless-steel reelsGabe's Leica assignment / adventure, courtesy of the Leica Store Los AngelesOur Rollei show! Gabe has a slew of Rollei TLRs:1938 Rolleicord 2b with Zeiss 3.5 lens1939 Rolleicord 2c with Zeiss Triotar lens1945 Rolleiflex Automat Model 2 which used to belong to renowned photographer Phil Stern1954 Rolleicord 5 with Schneider-Kreuznach Xenar 3.51958 Rolleiflex 3.5C Planar1958 Rolleiflex 3.5F Planar (his favorite)1959 Rolleiflex 2.8E2 with Zeiss Triotar lens (his other favorite)... Jeff has a 1959 Rolleiflex 3.5E … and Gabe also has:1959 Rolleiflex 3.5C1960 Rolleiflex 2.8F…and they all have different personalities! - they handle differently, and the hand-ground lenses render differentlyhow TLRs change your relationship to the subject when shooting portraitsnext! in non-TLR news, Jeff loves his little Rollei 35 SEworth checking out: Zeno Felkl's Rollei 35 Project bookand the mighty (and mighty hard to find) Rolleiflex SL350 is one of Jeff's favorite SLRs - the 50mm Planar is sublimeThe other Jeff Greenstein stole a quarter billion in a tax fraud scheme, so we will henceforth refer to him as "tax fraud felon"
Vintage cameras and analog film have grown to be unprecedented media darlings within our crowded digital landscape. With a superstar status fueled by insatiable demand amid a limited supply, in this week's podcast we investigate both the beauty and quirks of these trending tools. Joining us in conversation are photographer / vintage camera buff Bill Bain, and expert camera technician / repair wizard Shlomo Weinberger from B&H Photo's Used Department. Whether you cut your teeth on old school tech or you're an analog adopter in the digital age, there's a topic of interest for everyone, plus plenty of DYI tips to be had, including our favorite—liquid electrical tape! How many of you dedicated camera buffs knew about that? Guests: Bill Bain and Shlomo Weinberger Top Shot © Jill Waterman For more information on our guests and the gear they use, see: https://www.bhphotovideo.com/explora/podcasts/photography/vintage-cameras-with-bill-bain-and-shlomo-weinberger Guest Bios: Bill Bain has loved photography since his teenage years, when all his earnings went towards buying gear and paying for film and development. During a long career as an engineer, photography was a constant thread—particularly documenting his family and their extensive travels. Now living a post-corporate life in the Canadian Rockies, Bain devotes much of his time to photography. In addition to being fully immersed in digital imaging, he continues to make good use of his extensive collection of vintage cameras, many dating from the early 1900s. Bain's analog and digital fine-art images have been featured in Black & White magazine, and his photos of Olympic-style wrestlers have been published internationally. Shlomo Weinberger is a gifted technician who developed a specialty in repairing vintage cameras and lenses over nearly 25 years at B&H Photo. After learning his trade from an old-world technician steeped in the analog age, Weinberger currently operates a special repair shop within B&H Photo's Used Department, where he patiently inspects, calibrates, lubricates, and otherwise assesses the condition of the cameras and lenses that pass through his hands before they are offered to customers. Stay Connected: Bill Bain's Website: https://www.bainphotos.com/Film-Photography-page Bill Bain's Instagram: https://www.instagram.com/bainphotos/ B&H Photo Used Department: https://www.bhphotovideo.com/c/browse/Used-Equipment/ci/2870/N/4294247188 B&H Photo Vintage Film Equipment: https://www.bhphotovideo.com/c/browse/Cameras-Photo-Gear/ci/2871/N/4294247179 Episode Timeline 2:47: Bill Bain's tips when shopping for a vintage camera 3:30: Inspect the lens for mildew or mold and actuate the shutter 4:45: Making use of vintage lens fungus for creative portraits 6:53: Bain's preferred vintage camera formats: Folding bellows and box cameras 8:05: Bain's new vintage camera—60-year-old Mamiya C330 twin lens reflex 9:08: How many cameras are in Bill Bain's collection? 10:19: Black and white or color film, and various emulsions 12:28: Discontinued film formats and a nod to 2016 podcast—Dick Haviland: Last of the Classic Film Re-Spoolers 13:57: Bain's DYI modification for unavailable film stocks: Plastic wall anchors! 15:34: Different film sizes and determining if a camera will accept a currently available stock 17:42: 120 format film—the most easily adaptable film format 18:18: The difference between 120- and 220-format film 19:12: 127 film and smaller formats 20:20: DYI tip—Use a cigar cutter to trim readily available films to fit smaller formats 22:54: Vintage cameras with interchangeable lenses vs fixed lens cameras 23:14: The Petzval lens—19th-century classic and Lomography's 2015 redesign and release 24:00: Bill Bain's favorite vintage camera—His mother's Kodak Jiffy 620 25:02: The poor man's Leica—the Argus C3 26:42: Read the manual! Plus, finding user manuals for vintage cameras online 28:38: Making minor repairs, and when to pass vintage camera repair off to a skilled technician 29:16: DYI camera repair discovery—Liquid Electrical Tape! 32:06: Episode break 34:00: Shlomo Weinberger's advice when shopping for a vintage camera 34:34: Evaluating lens scratches—front vs rear element, edges vs center of glass 35:05: The most popular vintage cameras in B&H's Used Department 36:50: The most common vintage camera problem / repair—stuck aperture blades 38:11: Weinberger's most respected vintage cameras—Leica M3, Hasselblad system, Rolleiflex 35:32: Leica M3 has the best rangefinder—you can shoot with both eyes open 41:44: Weinberger's weekly workload of vintage cameras and lenses 42:28: Repair quirks to an original Nikon F 43:02: What to look for when repairing a twin lens Rollieflex 44:26: Flash photography with vintage cameras that synchronize at all shutter speeds 44:58: Pro tip for evaluating a twin lens camera—ensure all four sides of the lens board focus straight 46:34: Process for overhauling a vintage camera shutter 48:48: B&H Photo's used department museum display 50:32: Jeff Berliner's Petzvel lens collection from the Penumbra Foundation 51:15: Lubrication of vintage cameras—don't try it yourself! 52:44: Things to know before contacting B&H with a vintage camera inquiry 55:45: How to find Bill Bain online and in social media
For full notes and photos: allthroughalens.com On this basically spooky episode, we'll be the podcast that hands out full size candy bars. We've got an enlivening interview with Amy Badenchini (@lilangelfilm2 on IG), about photography, lowriders and punk rock. Then we'll turn to Satan to tell you all about the 1800s craze of Diableries. We've also got a ghoulish answering machine question, as well as zine reviews and other bits of glossolalia. But first, Vania and Eric banter about a number of things, including a Halloween candy rant, a Duran Duran disappointment, and Vania's potentially stolen Rolleiflex. Amy Badenchini Amy Badenchini's photographic world is filled with lowriders, punk rock and cats – sometimes all at the same time. Her slightly shifted color shots of car culture caught my eye years ago, and I'm stoked to finally get the chance to sit down and talk with her. IG: @lilanglefilm2 Here are a few of her photos, including the Bear & Oreo shot! Diableries – 3D Images of Satan! This collection of images was called Les Diableries – they were photographs of intricate clay sculptures depicting numerous hellscapes, photographed by stereo cameras to render them in three dimensions. The typical Diablerie was a diorama depicting a number of scenes filled with Satan and skeletons, demons and devils engaged in various acts. Sometimes these acts were fantastical, like the Black Sabbath or Satan's Fete Day. Others depicted Judgment Day and Orpheus leaving Hell. And still others were weirdly mundane: Return from the Racecourse … in Hell, New Year's Day … in Hell, and the Infernal Railway.. In – well you get the idea. Though all of the original 72 Diableries were different, they all showed the Devil partaking in some hellish happening. And though the styles of the individual artists showed through, the basic idea – the Devil doing stuff with skeletons – was carried throughout the series. Satan and his pals were essentially actors playing whatever roles the artists placed them in. Think of it as how the Japanese toy company Sanrio uses Hello Kitty – but here, the emphasis is on the “Hell”. We talked about a few of these Diableries, and here some are: If you're good at these types of things, you might be able to “free-eye” the 3D effect… In the piece, we mentioned how the glowing eyes were made. Here's a photo of the back of one of the Diableries. You can see the tiny pinholes where the skeleton's eyes appeared. These holes were filled with red gel. Zine Review Vania reviewed Lost Memory by Chris D'Amore – a 96 page book that can be picked up here: https://www.chrisdamore.com/shop/lostmemory PATREON Thank you to everyone who supports us! Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff! patreon.com/allthroughalens THE CREDITS OF ENDING Music by Last Regiment of Syncopated Drummers Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kit All Through a Lens: IG, Website, Patreon, Spotify Playlists Posted byAll Through A LensOctober 25, 2022Posted inEpisodesEditSatan Just Does Stuff… in 3D! (w/ Amy -Badenchini) – Episode 71Post navigation Previous PostPrevious post: Dev Party – Stand Development and Ask Us Basically Anything Leave a Reply Search All Through a Lens, Blog at WordPress.com.
A listener interaction episode with Mike, Andre, Jess, and Mike Kukavica (IG drunk.darkroom). Jess announces her hiatus from Neg Pos. Check out her cyanotype creations (IG dustytrueblue). We talk about our new Silver Linings Project for this year to raise money for cancer research. Mike G. gives some shout outs to Jamie Maldonado (IG jamiemphoto, YouTube Jamie Maldonado), Theo Panagopoulos (IG theo_panagopoulos, www.photothinking.com, IG camerosity_podcast), and Alessandro Cornacchia (IG filmphotoguy). Andre talks about the next round of the Analog Academy. Kuks talks about Top Gun, Lucy Lumen's (IG lucy_lumen, YouTube Lucy Lumen's Analog Adventures) Zuiko lenses video and Barry Thornton's Two Bath Developer. Next, we get an email from Alan Peres (IG aperes18) about the colonoscopy episode, a call in from Mario Piper (IG mariopiper, IG genxphotogpod) about thrift store luck and a call in from Bill Smith (IG wbsmith200, IG classiccamerarevival) about social media platforms. Finally, we have a call in from David Ortega (IG polapengu) about a digital camera fail and a Rolleiflex accessory. We end with a listener music track from Chris O'Connell (IG chris_oconn_photos, www.chrisoconnell.co.uk) from his band Those Amongst Us Are Wolves (www.thoseamongstusarewolves.bandcamp.com) with a track titled "At The End Of The Scene, The Walls Are Black" from the album "This State Is Conscious" Email the podcast: negpositives@gmail.com Instagram @negativepositives Facebook Group: Negative Positives Film Photo Podcast Facebook Group Support the Podcast: www.ko-fi.com/negativepositives Mike's free music for productions: www.mikegutterman.bandcamp.com
We're back! The gang and I are fresh off a mandatory 28 day rehab cleanse from all our GAS afflictions! To help us get back on the wagon, we only invited one guest to catch up on what we've all been up to since our last episode. From Fort Dodge, Iowa, Mike Novak returns to discuss what he's been up to, what his favorite Rolleiflex is, and a whole bunch of tips and tricks about in-home developing. In this episode, Mike shares a bunch of new cameras he's working on reviews for, things Paul is about to put for sale in his shop, and Theo's newest Father's Day pickup. We spend a great deal of time talking about Mamiya and their zillions of lens mounts they've made for 35mm cameras, an uncommon 24mm x 24mm square format 35mm camera, and different ways to make double exposures. As always, the topics we discuss are decided by you. 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, and right here on mikeeckman.com. We record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. So stay tuned, and if you'd like to ask us a question or give us some topics to discuss, look for our show announcement for Episode 33, which we will record on Monday, September 19th! This Week's Episode Theo Goes on the Negative Positives Podcast / The Nerdiest Film Photography Podcast / LOMO LC-A Wide Paul Picks up a Praktina FX with Biotar / Miranda G / PX625 Battery Voltage / Wein Cells Paul Has a Leica M4-P Coming That He REALLY Needs to Test / Rolleiflex 2.8D Rolleiflexes Can Be Difficult to Differentiate Between Models / Mike Should Review more Rolleis / Novak Recommends a First Rolleiflex Japanese Rollei Copies Sometimes Improve Things / Fujicaflex Automat TLR / Rolleimagic is the Weirdest Rolleiflex Rolleicord Multiple Exposure Project with Pixels and Grain / The Art of Intentional Double Exposures Double Exposing on Both Sides of the Film / Cameras Best Suited for Double Exposures / Canon EOS 300 / Ben Felton Does Double Exposures of Portraits Novak Loves Pyrocat HD / C41 Developing Has Far Fewer Variables / There's a Ton of Black and White Developers and Processes Novak's Tips for Controlling Grain, Contrast, and Detail / Stand Developing / Standard vs Staining Developers How Do Lighten the Base Layer or Get Rid of Base Fog? / HC-110 Lasts Forever / New Formula HC-110 vs Old Formula C41 Unicolor Kits Are Mike's Favorite / C41 vs ECN-2 Kits / Kodak Vision3 Cinema Film and Removing Remjet Developing ECN2 Film in C41 Chemicals Works But the Colors Will Be Off / Seattle Filmworks / Tungsten vs Daylight Balance That Cinestill "Glow" is Due to a Missing Anti-Halation Layer The Mamiya Sketch is a Really Cool 24x24 Square Format Rangefinder / Mamiya Had More 35mm SLR Mounts Than Anyone Mamiya Prismat V-90 (Prismat PH) / Mamiya ZE-X / Crossover Exposure Mode / Dealers Loved Mamiya and Ricoh What Are Some Cameras that would be Perfect, Except for One Thing? / Konica III / Voss Diax IIa / Alpa 11e / Nikon N80 / Fuji GS690W / Futura S Theo Gets a Leotax Model K and Nikon CoolPix 995 for Father's Day / Leotax vs Nicca Mike's Upcoming Reviews for Zenobia 35 / Adox 300 / Magazine Back 35mm Cameras Anthony Gets His First Argus C3 / Sandmar Lenses and Argus Viewfinders / Kodak Medalist vs Mamiya 7 Do Boring Cameras Make Boring Photos? / The More a Camera Appeals to You, The More Fun You'll Have Shooting It The Konica Autoreflex TC and the Hexanon 40mm f/1.8 Lens / Some Lenses are Cheaper to Buy Attached to a Body than By Itself Teraoka Auto Terra Super / More About the Mamiya Prismat V-90 Show Notes 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 or Instagram page, or email us at camerosity.podcast@gmail.com. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Camerosity Twitter - https://twitter.com/CamerosityPod Negative Positives Podcast # 391 - https://www.podbean.com/media/share/dir-hi389-14b78501 Mike Novak - https://www.flickr.com/photos/greyscale3/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris Anthony Rue - https://www.instagram.com/kino_pravda/ and https://www.facebook.com/VoltaGNV/
durée : 00:58:44 - Grande Traversée : Lee Miller, une combattante - par : Judith Perrignon - À l'annonce de la guerre, Lee Miller devient photographe de guerre pour le magazine Vogue, auprès de l'armée américaine. Avec son Rolleiflex, elle témoigne du front, la libération, et la découverte des camps. Ses mots disaient tout. Elle est l'une des premières photographes à entrer dans Buchenwald. - invités : Amy Bouhassane Petite fille de Lee Miller, et co-directrice des archives et des collections à Farley Farm House; Antony Penrose Fils de Lee Miller, directeur des archives Lee Miller Archive et de la collection Penrose, à Farley Farm House; Hillary Roberts Conservatrice au département de la photographie de l'Imperial War Museum
Jan Mom in gesprek met fotograaf Claire Felicie over haar Fotoboek Falling Man. Toen het Coronavirus en de daaropvolgende lockdowns het openbare leven lamlegden, begon fotograaf Claire Felicie, zichzelf vragen stellen over hoe wij in onze cultuur omgaan met onze sterfelijkheid. Ze bezocht vorig jaar maart met haar analoge Rolleiflex begraafplaatsen, de Amsterdamse Nicolaaskerk en De Wallen. Toen ze begon met fotograferen was dit normaal zo drukbezochte gebied vol met sekswerkers, leeg en verlaten. De kerken waren gesloten en elkaar aanraken was verboden. Het resultaat is te zien in het boek Falling Man.
durée : 00:58:44 - Les Grandes Traversées - par : Judith Perrignon - À l'annonce de la guerre, Lee Miller devient photographe de guerre pour le magazine Vogue, auprès de l'armée américaine. Avec son Rolleiflex, elle témoigne du front, la libération, et la découverte des camps. Ses mots disaient tout. Elle est l'une des premières photographes à entrer dans Buchenwald. - invités : Antony Penrose Fils de Lee Miller, directeur des archives Lee Miller Archive et de la collection Penrose, à Farley Farm House; Amy Bouhassane Petite fille de Lee Miller, et co-directrice des archives et des collections à Farley Farm House; Hillary Roberts Conservatrice au département de la photographie de l'Imperial War Museum
durée : 00:58:44 - Grande Traversée : Lee Miller, une combattante - par : Judith Perrignon - À l'annonce de la guerre, Lee Miller devient photographe de guerre pour le magazine Vogue, auprès de l'armée américaine. Avec son Rolleiflex, elle témoigne du front, la libération, et la découverte des camps. Ses mots disaient tout. Elle est l'une des premières photographes à entrer dans Buchenwald. - invités : Amy Bouhassane Petite fille de Lee Miller, et co-directrice des archives et des collections à Farley Farm House; Antony Penrose Fils de Lee Miller, directeur des archives Lee Miller Archive et de la collection Penrose, à Farley Farm House; Hillary Roberts Conservatrice au département de la photographie de l'Imperial War Museum
A discussion with author Ann Marks regarding her new book “Vivian Maier Developed”. Vivian Maier became an overnight sensation when over 140,000 professional quality photographs by Maier were found in abandoned storage units throughout Chicago. Documentaries from Netflix and the BBC followed with the common theme of trying to assemble a portrait of the very private and very quirky nanny who happened to be a photographic cevant. Marks' new book digs deep to answer those lingering questions about Vivian's identity, her past, her shortcomings and her compulsions.
On today's episode of the B&H Photography Podcast we talk to an old friend about a new book; two-time past guest Amy Touchette joins us to discuss her book of street portraits. She also brought a friend with her - none other than photographer, Larry Fink. Is it fair to call Fink a photo legend? We think so, and clearly the people at the Center for Creative Photography seem to think so, because they just acquired his complete archive of work including images from the 1950's to the present, from his acclaimed series “The Beats”, “Social Graces”, “The Vanities” and others. While this is a roundtable conversation, we start with a few questions about Touchette's book “Personal Ties: Bed-Stuy, Brooklyn”, which she shot over the course of summer strolls through her New York neighborhood. We learn why she started photography in 2001, about her working process with a Rolleiflex twin lens reflex film camera, and why her personal interaction with her subjects/collaborators is paramount in her photography practice. We also talk about crowdsourcing, editorial collaboration, and why Fink wrote the foreword for Touchette's book. Larry Fink's sixty years of photography work is well-recognized, but his harmonica playing, less so. We hope to remedy that with this episode, but while at it, we learn how he created an extensive archive of vintage prints and “hustled” to find a home for his life's work. We learn of his Mamiya medium format camera with bellows, his preferred photo paper, and mull on the difference between our two guest's aesthetic style. We also talk about an insider vs. outsider perspective, about the nature of portraiture, and the “revelatory excitement that defies the logic of what a frame could be”. Join us for this playful yet insightful conversation and have a look at this link for portraiture and WPPI related specials. Guests: Amy Touchette and Larry Fink Photograph © Amy Touchette For more information on our guests or the gear discussed in this show, please visit https://www.bhphotovideo.com/explora/podcasts
We try to maintain a global perspective at the B&H Photography Podcast and speak with photographers from around the world, but we are New Yorkers at heart and it's hard to deny the love we have for our city and its history. With that in mind, we are pleased to welcome photographers Anders Goldfarb and Larry Racioppo to the show―two photographers, both born in Brooklyn, who have taken the face of our ever-changing city as their subject. Each photographer has extensive archives of New York neighborhoods, landmarks, and communities, and both have recently published new books of their work. Goldfarb's book, Passed Remains, is a look at the Greenpoint and Williamsburg neighborhoods prior to the gentrification of the 2000s and Racioppo's latest book is titled Coney Island Baby, which chronicles the changes to that storied locale from the 1970s to the present. We learn of Goldfarb's process of bicycling through the quiet corners and industrial cityscapes of his then-neighborhood and photographing with a Rolleiflex twin lens reflex camera. He describes his work as both a “survey and a statement.” With Racioppo, we learn of the many visits he made to Coney Island over the years to photograph―covering the demise and demolition of the 1970s through its reincarnation in the 1990s. He also discusses working as a photographer for the New York Department of Housing Preservation and Development and provides a glimpse at the life of a working artist in Brooklyn in the 1970s and '80s. Our wide-ranging conversation includes the challenges of the square format, Nikon rangefinders, texture in a photograph, self-publishing, and the delight of mystery. Guests: Anders Goldfarb and Larry Racioppo Photograph © Larry Racioppo For links and more information : www.bhphotovideo.com/explora/podcasts
Charlamos con el actor, y aficionado a la fotografía, Víctor Clavijo (Ministerio del Tiempo, Al salir de clase, 80 monedas, etc.) Episodio de HOY Nuestro segundo episodio del año lo iniciamos con una charla al gran actor Víctor Clavijo (Ministerio del Tiempo, Al salir de clase, 30 monedas...), y a su gran afición por la fotografía. Conoceremos la importancia del mundo de la interpretación, y otras disciplinas artísticas con la fotografía. Además, hablaremos de fotografía química, historia de la fotografía, fotografía documental, Twitter, incluso de Leica.No os perdáis este precioso y gratificante episodio del podcast.Enlaces del Invitado Twitter de Víctor Clavijo https://twitter.com/VctorClavijo/ https://twitter.com/VctorClavijo/status/1428446800852180996?s=20 Twitter de Carlos Clavijo https://twitter.com/carlosclavijo22 Enlaces del Podcast Twitter de Photolari https://twitter.com/Photolari Twitter Rodrigo https://twitter.com/RodrigoRivasPHInstagram Rodrigo https://www.instagram.com/rodrigorivasph/
“Gaston Paris“La photographie en spectacleau Centre Pompidou, galerie de photographies, Parisdu 19 janvier au 18 avril 2022Interview de Michel Frizot, historien de la photographie, et de Florian Ebner, conservateur et chef de service du cabinet de la photographie,par Anne-Frédérique Fer, à Paris, le 18 janvier 2022, durée 17'55.© FranceFineArt.Communiqué de presseCommissariat :Michel Frizot, historien de la photographie,Florian Ebner, conservateur et chef de service du cabinet de la photographie, Musée national d'art moderne,assistés de Katharina Täschner, boursière de la Fondation Krupp, Allemagne.Une coopération entre le Centre Pompidou, cabinet de la photographie, et la Bibliothèque historique de la ville de Paris.Photographe talentueux, reporter fréquemment publié, notamment dans le magazine VU, Gaston Paris (1903 – 1964) demeure encore largement méconnu. Technicien virtuose et observateur ingénieux, il sert, aux côtés de ses pairs, l'appétit visuel des années 1930. L'exposition « Gaston Paris. La photographie en spectacle » invite à redécouvrir l'importance de ce photographe, indéniablement influencé par le surréalisme et le « fantastique social » de son époque. L'exposition est aussi une réflexion sur les différents supports de la photographie et les étapes de sa diffusion : elle présente une cinquantaine de tirages d'époque, vingt-cinq planches thématiques illustrées par des tirages contact, une cinquantaine de reproductions de magazines, plus de cent tirages tardifs réalisés dans les années 1960 et 1970 et la projection d'une centaine de négatifs numérisés.Des « filles » des music-halls aux enfants des fameuses « zones » de Paris en passant par la soufflerie aérodynamique de Meudon, Gaston Paris documente les spectacles et la modernité des années 1930 avec aisance et professionnalisme. Il fait du format carré de son appareil Rolleiflex un répertoire riche de formes et de signes pour les rédactions des magazines illustrés. L'exposition offre en ce sens un éclairage sur la pratique naissante du photojournalisme, et en particulier sur quelques-uns des grands sujets alors privilégiés. Elle présente la carrière exemplaire d'un reporter, qui, parallèlement à VU, a contribué à des magazines aussi différents que La Rampe (sur le théâtre, le cinéma, la scène artistique), Paris Magazine (magazine à tendance érotique), Match (reportages consacrés de plus en plus à des sujets socio-politiques). En 1940, il contribue, comme d'autres photographes français, au magazine La Semaine, contrôlé par les autorités de Vichy, pour réapparaitre plus tard en témoin de la Libération de Paris puis de l'Allemagne détruite, où il accompagne les troupes françaises.Gaston Paris n'a jamais publié d'ouvrage de son vivant. En 1952, il tente de faire paraître Les Mystères de Paris, une sélection de photographies réunit en un livre, mais le projet n'aboutira pas. L'époque n'était plus à l'image d'un Paris mystérieux et obscur, mais à celle d'une ville imprégnée d'une douce mélancolie existentielle. Cet échec incarne le tragique de la carrière artistique de Gaston Paris : arrivé trop tard par rapport à ses pairs reporters qui l'ont précédé avec leurs inventions formelles, mais trop tôt par rapport à une génération de l'après-guerre dont il ne partageait pas le vocabulaire humaniste. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.
Wayne and Kevin are back with more film chat! Wayne discusses his experience with his Automatic Rolleiflex 4x4 twin lens reflex camera, better known at the "Baby Rollei." This camera looks like a smaller version of the classic Rolleiflex and shoots 127 film. Wayne also developed the film he shot and made a print - and it was a challenging experience! Our next segment is a deep dive into focus and how to take charge of it and make it work the way you want with everything that will appear in your photograph. Finally, we answer a listener question about flash sync. Happy Shooting!
In this episode, we interview Fred Coury (composer of our theme song) and Keith Greenstein (designer of our logos, website and merch) about the vintage analog cameras we gave them a few months ago — a Rolleiflex 3.5 for Fred, and an Olympus OM-1 for Keith. It's both enlightening and hilarious to hear these two bright, creative guys describe their very first excursions into the world of analog photography.
本期节目录制于武汉疫情将熄时期，本期节目播放于北京疫情正酣之际。这次做客我台的嘉宾是来自于国内「有名」（胶片圈子很有名，可胶片圈子毕竟是小圈子，just like us）的胶片冲扫机构「菲林公园」的老板 Sohov。记得徕卡在它 100 周年的广告片 「Leica 100」里，总共两分多钟的影片通过巧妙的构图和运镜，将数十个经典瞬间一气呵成的穿插其间，观看时仿佛被置入了一个正在运行的时间机器。这恐怕就是影像、就是菲林所具有的强烈「故事性」和「纪实感」，那整天与菲林打交道的 Sohov 老板自然而然，是一个有故事的人。# 内容提要00:40 · 「爱吃」的嘉宾直接从自我介绍跳到了「报路名」05:44 · 本次疫情对胶片摄影这个行当的影响15:55 · 聊摄影话题怎么能离开「老法师」们的故事呢？19:58 · 「这个朋友我交定了！」23:45 · 离开广告公司开店之后大大增加了交际圈，可以向更多同好学习43:10 · 被一泡尿耽误了的面试54:06 · 一个有魄力的摄影师、一段励志的人生58:31 · 故事说了很多了，让我们再聊回摄影本身# 参考链接嘉宾创办的胶片冲扫店菲林公园（这大概是我们第一次贴大点的链接吧） 1:07上海市传统建筑张家花园 1:43星巴上海克旗舰店 2:01上海市永康路 2:40富士胶片 CEO 古森重隆 11:23美能达 X-700 相机 20:50禄来 Rolleiflex 2.8F 相机 21:59蔡司 Super-Ikonta 折叠相机 22:20乔布斯自传的封面照片 26:46出版《生活》杂志的现代传播集团 39:37日本摄影师秋山亮二出版的影集《你好小朋友》 40:08台湾当代著名摄影家阮义忠 40:49Wieden+Kennedy 广告公司 45:56建筑摄影师田方方 54:13# 会员计划在本台官网(Anyway.FM) 注册会员即可 14 天试用 X 轴播放器和催更功能~ 开启独特的播客互动体验，Pro 会员更可加入听众群参与节目讨(hua)论(shui)~
Episode #387 continues the Finding Film series with a discussion on the history and story behind the popular Rolleiflex TLR cameras. The post 387: Finding Film – The History and Story of Rolleiflex appeared first on Sprout Studio.
© 2020-2025 Ivy Podcast Discovery LLC
