The Photography That Paved The Way For Apollo 11.

The Photography That Paved The Way For Apollo 11.

 

A Desire To Capture.

It can be hard to resist the urge to whip out your smartphone and snap a photo when you see a beautiful moon that is full and bright in the night sky. But this is an incredibly old impulse to capture the moon. Whether, it’s the hunter-gatherers who dabbed moonlike dots on cave walls in Lascaux in France or the paintings of Leonardo da Vinci and Vincent van Gogh it is believed that this desire to capture the moon stretches back as far as 15,000 years.

Pioneering.

According to a new exhibition at George Eastman Museum in Rochester New York an explosion of moon-related imagery like never before came about in the late 1820s with the invention of photography. As well as enhancing our knowledge of Earth’s satellite the imagery – from romantic moonlit landscapes to groundbreaking astrophotography – also deepened our understanding of life right here on this planet.

“It reminds us that humans are small and inconsequential entities within the vast expanse of outer space and, at the same time, a powerful collective force when driven to explore our place in the universe,” curator Lisa Hostetler says.

The First Images.

Using a heliostat to reflect moonbeams through a lens and onto a metal plate the first known photograph of the moon was taken from a Manhattan rooftop in March 1840 by the chemist John William Draper. Large intricate prints of the moon’s meteorite-scarred topography, made by personalities such as Warren de la Rue, Lewis Rutherford, and Draper’s own son Henry, were made possible by advances in photography – first wet collodion glass plates then dry plates – by the end of the 19th century. “For most people, such images were the first accurate and detailed pictures of the moon’s surface they ever encountered,” Hostetler says. “It allowed them to see rather than only imagine how the moon looked up close.”

In order to record and map the moon’s lonely plains and craters the Lunar probes and orbiters Surveyor 1, Ranger 7, and Luna 3 were essentially film and television cameras being launched into space by the US and Soviet governments in the 1960s. In the pioneering astronaut Neil Armstrong’s words, an event that showed “that humanity is not forever chained to this planet, and our visions go rather further than that,” Apollo 11’s landing on the moon on July 20 1969 was made possible by the spectacular shots that the orbiter probes beamed back to help identify potential sites for the Apollo 11 landing. Further experimental shots would also be later taken by Hasselblad-wielding astronauts…

Eloquent Observations.

From the early 1970s and continuing to this day these events spawned an uptick of space-themed art and photography. According to curator Hostetler, “an eloquent observation of the way we map our personal lives onto historic events and discoveries so that they become intertwined in our memories,” has been created by Linda Connor’s Lunar Fantasy which transposes hand-coloured snapshots onto images from the Lunar Orbiters mission which are featured in the exhibition. Also included in the show is Bill Finger’s Ground Control which draws on his own childhood fascination with the Apollo missions shadowing a fictional character who longs to leave Earth for space.

Featuring the moon as a central element Finger is also working on a new lunar series. “People have probably had a fascination with the moon since there were people,” Finger says. “There is that glowing mysterious soft light that it produces, which lends itself to romanticism and folklore. I think all of that plays on the human psyche. … It reflects the mysteries that make life interesting.”

Words by Elijah (Content Marketer) via WIRED.

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Samsung reveals a phone with screens on both sides which could change photography forever.

Samsung reveals a phone with screens on both sides which could change photography forever.

Screens are multiplying!

Offering photographers a truly revolutionary ability, Samsung has designed a smartphone with two or more screens.

 

The front and back display on the device has just been granted a patent.

The gadget will be able to run speech translation apps and show text to two people at the same time.

But it will also bring a big change to the way you take photographs.

Double Vision.

With most smartphones right now, the person who’s posing for an image has no way of seeing what the picture might look like.

 

image

 

On the left, you can see what might be displayed whilst a photographer is snapping a picture (Image: Samsung)

 

image

 

The above drawing demonstrates how a translation app could take advantage of two displays (Image: Samsung)

 

image

 

A drawing of the phone itself (Image: Samsung)

Patent technology.

It will show the view from the camera lens on both sides if Samsung’s patent ever inspires a real phone.

This means that you’ll be able to see what a picture looks like before and after it’s taken, which means you can hold a pose and let your photographer keep snapping away.

Sensor Detection.

The design also features a sensor to work out which screen you’re looking at by detecting your hand as it ‘hovers’ over one of the displays.

Wait and see.

It’s not known whether Samsung is planning to release its Janus phone, because a patent is not a guarantee that a product will go into production.

In China, you can already buy a phone with two screens called the Vivo NEX Dual Display.

But for now, we wait with baited breath as to this new innovation.

Words by Elijah (Content Marketer) via Metro.

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The World’s Creamiest Bokeh.

The World’s Creamiest Bokeh.

 

image

 

Full-Frame 50mm Lens with Aperture of f/0.35.

The world’s creamiest bokeh (definition: the visual quality of the out-of-focus areas of a photographic image) can be whipped up to give us incredible subject separation through the use of huge apertures. In exciting news, the world’s first f/0.35 50mm autofocus prime lens has been manufactured but is still such a secret that we don’t even know the mount, never mind who makes it. But the images that this lens can produce are amazing.

Being Developed in Secret.

As it is being developed in secret by a Japanese manufacturer this beast of a lens isn’t due for release until 2020. When you remove the lens cap rooms get visibly darker as if the aperture literally sucks in so much light, and it only weighs 37 lb (17 kg)! These and other developments will mean that a new generation of cameras that are yet to hit the market will have to come along; for example, shooting in daylight with this lens at your lowest ISO requires shutter speeds in excess of 1/100,000th of a second!

Slim Depth of Field.

Trying to grab a focus can be a real challenge because the depth of field is so slim. Fortunately, this incredible lens has autofocus to help the process, though this comes with a few restrictions. The autofocus motor has to do so much work that it requires its own power supply in the form of a diesel generator. It takes in excess of 30 seconds to slide all of the elements into place during the slow process of autofocusing the amount of glass. With the slightest movement meaning having to start all over you will need to ask your model not to breathe during this time. And, any low-level seismic activity, such as blinking, can be problematic.

 

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Results.

So what are the results? It has a spectacular shallow depth of field. The lens really allows you to be creative in how you portray your subject; even though it’s tricky to get both eyes sharp at the same time the viewer’s attention is focused on the single iris, as you can see. The eye is truly a window to the soul and being able to isolate it so completely really opens up the possibilities.

A Buttery Goop.

The blending of the image into one beautifully buttery goop, where there is little distinction between where the subject ends and the background begins, make this lens perfect for those type of moments when you simply want to make that process difficult to figure out. Also, backgrounds become much less of a concern due to the truly liberating shallowness. You can stand your model wherever you want having no longer to find context. Not a problem if you’ve got a tree or telegraph pole coming out of their head. And thanks to the lens’s 29 aperture blades, bokeh balls are completely round with not an onion skin in sight.

 

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Focus on the Bokeh.

These photos might look a mess but if you focus on the bokeh you’ll notice that from one tiny highlight where the sun glints through the trees we get the incredibly huge, incredibly round bokeh ball. Just focus on the bokeh ball.

More news about this lens will come in the near future.

Words by Elijah (Content Marketer).

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Colour Photography Pioneer’s Images of Old Russia.

 

image

 

Way Before Instagram A Revolution in the Use of Filters was Taking Place.

Deep scientific roots underlie the art form we know of as photography today. Early pinhole cameras were both described by Euclid and Aristotle in ancient Greece. In order to understand light and colour in their work a “dark chamber” or camera obscura was used by Renaissance painters including Leonardo da Vinci. Another precursor for early approaches to photography was The Book of Optics by Arab mathematician, astronomer, and physicist Hasan Ibn al-Haytham which defined certain techniques.

From this time on innovations beyond optics came but it was especially the 19th century that modern progress was made, from daguerreotypes in 1837, to dry plates in the 1870s, and rollable film in the 1880s. Yet all of it was in black and white. Hand-colouring was able to be done on prints but it would take another leap forward before true-to-life colour photography became possible. A detailed portrayal of Russia in the early 20th century from the photo negatives of one premier photographer are being restored and digitized by the Library of Congress since they helped to pave the way for coloured images as we know them today.

Pioneer.

Sergey Prokudin-Gorskii was a chemist and photographer, first known for presenting papers on the science of photography as a member of the Imperial Russian Technical Society, the country’s oldest photographic society. His interest in the limits and freedoms of colour photography deepened after establishing a studio and laboratory in St. Petersburg. Alongside photochemistry professor and photography practitioner Adolf Miethe he studied colour sensitisation and three-colour photography after his fascination brought him to Berlin in 1902. Prokudin-Gorskii decided to stick with Miethe’s familiar process of colour photography as the expense and difficulty of the Autochrome colour process introduces by the Lumière brother in France in 1907 was too great. To produce their full-colour image, coloured filters were used when black-and-white negatives had been shot and reassembled.

 

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A Special Commission.

Tsar Nicholas II was presented with colour images of Russia’s culture and monuments as well as a portrait of the revered writer Leo Tolstoy by Prokudin-Gorskii a few years later. Using his innovative colour photography techniques special access and funding was provided to him by the Tsar to document daily life in Russia. Focusing in particular on the country’s farther reaches, roughly from 1909 to 1915, 10,000 images of the Russian Empire were produced thanks to a specially designed railroad-car darkroom outfitted by the Tsar to be used by Prokudin-Gorskii.

A portion of this historically significant collection of images was purchased from the photographer’s sons by the Library of Congress in 1948. “There are 1,902 images from black-and-white glass negatives,” says Phil Michel, digital project coordinator in the Prints and Photographs Division at the Library of Congress. “We digitized the entire collection of negatives in the year 2000.” Because the images date to before the Russian Revolution and before World War I, Prokudin-Gorskii’s photographs come from an important historical time. In contrast to the photographs of technologically advanced factories of the era his renderings of medieval churches and monasteries offer insight into “old world” Russia. This produced a wide-ranging and vivid portrayal of the Russian people.

 

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“In the early 20th century, when Prokudin-Gorskii photographed his visual survey, the Russian Empire included not only modern-day Russia, but also substantial territory in Eastern Europe, Central Asia and beyond,” according to the curators in the Prints and Photographs Division. “The survey greatly interests both the many people living in this vast region and people elsewhere in the world trying to learn about its history.” About 3,500 negatives of Prokudin-Gorskii’s personal inventory were taken to Paris when he left Russia in 1922. However, half of them were confiscated by authorities who deemed their subject matter too sensitive to leave Russia.

 

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Simulating The Eye.

Because Prokudin-Gorskii’s particular method for colour photography simulates the way the human eye deciphers colour it came to be known as the “three-colour principle,” building on the work of his colleague Miethe. Starting with a black-and-white image, “he exposed a glass plate through separate blue, green, and red filters, then used a triple lens magic lantern to project a full-color image,” the curators say. “It took a lot of technical as well as creative expertise in its use of color filters to create on a glass plate three exposures that could later be aligned (registered) into a single color image.” Essentially, Prokudin-Gorskii used a camera that exposed a single glass plate to the three different color filters in succession. Then, by layering the filters, he could produce a single color image. It worked, but it was time-consuming. “In the 1930s, the preferred method became colour film with all the color information held in a single frame,” say the curators. “Although modern color photography would evolve using alternative techniques, the imagery created by Prokudin-Gorskii demonstrated the value of colour photography for documenting society and culture.”

 

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Archiving The Work.

The process for digitizing the remaining glass negatives was as labor-intensive as it was for Prokudin-Gorskii to produce them. It took the curators nearly six months to complete the initial scanning process of the 1,902 glass plates. The Library then commissioned 122 colour prints based on these digital files, with Walter Frankhauser of Walter Studio in Monrovia, Maryland. The digital process, in that instance and in later digitization efforts, was essentially the same as the analog one, superimposition of the three filtered images, with the artifacts of that visible at the edges.

Words by Elijah (Content Marketer).

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Leading Publications Sever Ties With Bruce Weber and Mario Testino After Sexual Harassment Allegations.

Last year, the so-called “powerhouse photographers”, both Mario Testino and Bruce Weber were investigated as several allegations surfaced of sexual harassment leading many media companies, the likes of which including Condè Nast to sever ties with the pair. Times Up...

Worst Portraits Ever.

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Top Magazines Have Banned Photographer Terry Richardson

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PBMJ: Now we are 2

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Three Great Books to Improve Your Photography Career

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The Sports Photographer on top of the World

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Copyright and Licensing your images

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Paptastic

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Nobody Talks About The Problem With Camera Phones.

Nobody Talks About The Problem With Camera Phones.

The camera itself was the biggest problem with camera phones once upon a time.

 

Released in 2000, the J-SH04 was one of the world’s first camera phones. Things have come a long way since then. Tiny 0.11 megapixel images was all it could shoot. To give their phone a legs-up above the competition some mobile phone providers today have partnered up with Leica, whilst brands like Apple launched their “Shot on iPhone” campaign with other brands following suit, as nowadays the camera has become a big deal to any phone.

 

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In-line with partnerships, it was revealed that the Nokia 9 PureView has Zeiss backing them up.

 

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It features no less than 5 cameras. It has an excellent dynamic range, amazing low light capability, 3 monochrome cameras as part of its monochrome mode for RAW shooting, which all combines to capture a vast amount of detail. It’s a camera anyone would want with their phone for the best image quality you can get; what photographer does want that?

Well, camera phones are notorious for dashing those hopes and dreams so you might just want to slap yourself before embarking on your quest for the best one!

People just want one device; if you have a great camera on a device that can take calls and browse the web it means you can leave your pocket camera at home. The Sony Satio was one of the first ones to push the camera, then came the sleek but ultimately garbage Samsung Galaxy Zoom, the Panasonic CM1 looked like a camera, and the LG G5 came with a camera grip.

 

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The above shot was taken using a Blackberry Priv.

 

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This one was taken with a Samsung Galaxy Zoom.

 

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This one was taken with the LG G5.

 

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Again, the Blackberry Priv.

 

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And finally, the Panasonic CM1.

There is good news and bad news. Every day, camera phones get more and more advanced, of this there is little doubt – that’s the good news. The Panasonic CM1 crammed a 1-inch sensor into a very small portable package. Relatively recent phones like this one can produce some pretty outstanding work. Getting stealthy shots is one advantage of being able to totally fake using your phone which makes camera phones ideal for street photography. That’s the first advantage. The second is the incredible frames-per-second. The old G5, for example, has 30 fps, and many modern phones offer increased fps.

But, there is an issue, despite camera phones being able to produce good images.

The Problem With Camera Phones.

The handling of the camera is something that they lack despite having the camera power. Phones have had “good enough” image quality for a few years now but the reason you can’t trust them is that every single camera phone out there are phones first. The camera feature has been added after the fact that they were made to handle like phones.

 

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Notice the configuration of the hands in this image as someone attempts to get the shot on the camera phone.

This is very limiting for photographers and less than ideal. Because most phones will not allow for one-handed shooting this is especially true for street photographers. So, the lusting for ever-increased tech in phones becomes redundant because any new innovation can’t escape the fact that they’ll handle like all the other phones.

The Panasonic CM1 was a camera phone that many believed to be the zenith of camera phones, having both the camera power as well as looking very camera-ish. But, again, the handling. Even with a grip added to make it more camera-like the handling still remains phone-like. But that’s just it, phone manufacturers are thinking primarily about image quality over handling.

If you can’t get the images you want, it doesn’t matter how good your camera is. The LG G5 is a case in point: even though the handling isn’t great, even with a camera grip, the fact that is can shoot 30fps might lead you to believe that if you can just get 3 to 5 seconds worth of images there’s a possibility that you could get the shot. But it is simply not the case since you can never frame correctly despite the fps.

It all comes down to the realisation that if you can’t hold the phone well enough you’ll probably miss that crucial angle in the time it takes to pull out your phone and position yourself and there is nothing more frustrating than that if you can see the shot. Those types of in-the-moment shots are missed in the fracas of touching the screen or toggling the menus to change settings, for example.

Granted, this does not necessarily apply to those who don’t need to shoot quickly or at angles, like landscape shooters, for example. But for street photographers, even despite the advancements in the past 10 years, the result is still frustrating. Again, the handling is just not there as well as the ease of changing settings. Even the Panasonic CM1 that has a dial on the front just doesn’t cut it. If you need things fast, it’s not going to work if you have have to go press buttons to change the settings from shutter speed to ISO – at minimum, a serious camera needs 2 dials to change settings.

To have the entire photographic process from capture to publishing right in your pocket on the first device in history to be able to do so makes all this a little ironic. To have a device with a high IQ like 30 fps can still be less preferable to your 8 year old pocket camera.

The reason, again, simply, is the handling. It’s the one thing phones are missing. And on top of that, these types of innovations for camera-phones are probably never going to happen simply because phone needs are different to camera needs. The best camera phone would probably be like a camera with a touchscreen in the back. But what about the dials and buttons? As phone users, we probably wouldn’t want anything messing with that screen interface; as a camera user you want the buttons. On a phone, however, accidentally pressing random buttons could be a problem.

What do you notice when you take your pocket camera and hold it in front of you? Your thumb and lower thumb area are accommodated by the design of the back area. This design means a better grip leaving your index finger to press the shutter release button.

 

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So, bulk… Camera’s are bulky and what’s great about bulk is handling. You can hold it better. Phones stopped being bulky a long time ago. When you want to hold your slabby phone with one hand it feels weird as your fingers try to get a grip on the back of the phone to not let it slip.

Is There A Solution?

Now to the good news: there is a solution to the conundrum between phone and camera. A modular phone. The phone can be removed to be its own slab, or you can put it into a camera module to get a nice grip with buttons. “Pictar” wanted to do this …

 

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You can see how the guy is handling the phone, and observe the thumb rest area. Something like that, but with normal camera buttons in the back. But the way things are going with modular phones, where nothing ever pans out, this is more of a pipe dream than anything.

Because camera phones get even more awesome every day is the reason that they’re so loveable. But if you can’t get the shot it doesn’t matter how great they are. So, after 10 years of advancements the main problem simply comes down to handling. But the thing is, it would probably suck as a phone if you just add camera handling to one even though this looks like the solution to the problem on the surface. So, it will be interesting to see in future whether brands like Samsung or Nokia will make a move to produce a phone that makes photographers want to leave their dedicated compacts at home.

Words by Elijah (Content Marketer).

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