This one has just arrived from http://tripman.co.uk and can’t wait for film to be loaded! It’s an old Olympus Trip 35, produced in 1982 (according to the serial number) and fully restored by the guys from Tripman.
What I like about this camera is that you can use it in studio, push the film thanks to manual ISO setting (although, only up to 400) and, of course, its soft, 70-s style picture.
“During this fall, Canon will make one of its largest and most important launches in the company’s history and we hope you can attend. During a luncheon, you are invited to listen to CEO Jouko Tuouminen, Marketing presiden Monica Forsberg and trend analyst Magnus Lindkvist, talking about tomorrows trends and factors of success in the continually more digitalized everyday life.”
I hope, by “largest” they mean medium format, like, seriously.
7D. With cropped sensor? There’s something I don’t quite understand here. Wasn’t it supposed to be a full-frame successor to 5D (not an upgrade, like Mark II, but a real next step camera)?
Last Friday I read a micro-lecture on photography at Moscow-based “Kapusta” (”Cabbage”) club (here’s the Facebook page in Russian). My theme was “Synthesis in photography”, because I think that this is what’s happening now and this is cool.
In 2009, there are as many photographers as cameras. One can’t often tell an amateur from a pro. And from this pool of people, equipment and ideas, something new is being brewed.
New Camera Standards: Micro 4/3
It’s official, as camera producers support this trend by merging products from different niches, creating new species. Like Micro 4/3, currently represented by Panasonic and Olympus:
At one hand, consumers who want to get pro’er, but are somehow scared by DSLR’s large size and the whole mess with professional gear, get an advanced camera allowing them to use interchangeable lenses to get better picture and learn more, still looking nice and shiny. At the other, professionals, tired of DSLR’s that don’t fit into their pockets or purses for everyday careless shooting, finally get a, well, point-and-shoot, or rather, “put on your favourite lens-point-and-shoot” camera.
Same thing happens in heavier weights with the upcoming arrival of Leica S2, a medium-format DSLR. Now we can have all those megapixels, too heavy to carry out from studio into everyday life before, to shoot our kitty on the sofa or our boy/girlfriend in front of Eiffel tower.
Red One, the first available on the range of Red cameras, is designed to shoot films, but more and more photographers use stills from Red footage as “normal” photographs. Another example is Bruce and Emma Willis photoshoot for W Magazine.
From the opposite side, DLSR’s with HD video feature have arrived, starting with Canon 5D Mark II.
Now tru photographers have a possibility to play with video, using their favourite L-lenses and therefore getting a better picture than on a regular HD video camera. A huge contribution to the rather new “long photo” genre. Well, not so brand new, as Andy Warhol’s Screen Tests have explored this territory already back in the 1960’s, but still without strict definition, what causes discussions like those on Flickr after they introduced the video feature.
As for the genre synthesis, I showed an example from my own work: a project called “Lomostudio“.
Lomographic cameras are never allowed into studio. They’re too playful, too uncontrollable, too trashy. I took a Lomo Action Sampler straight into my studio, under the lights. In a party format, to keep the lomographic flavour, I shot portraits of people, synthesizing the picture from rough spontaneity mixed with hardcoded studio light set up.
700 hand-numbered camera kits featuring a Polaroid ONE600 and a pack on instant film, will be available in London flagship store and US stores this Friday, August 21st. Those who, like me, are already among the happy few owners of a Polaroid camera, will have a chance to (dead)stock up some genuine Type 779 Instant Film, produced in Netherlands and preserved in a fridge.