Google Really, Really Wants Filmmakers To Try Its New VR Camera
Alfonzo Liebenstein
I nearly always find something but this year I wandered around many times trying to find something to come home with. I ended up buying a non-descript 4x5 simple box camera with a plate holder and a couple of film holders just in case the wife didn't believe I really went to a camera show. I did have my eye on a excellent condition Century Graphic but the seller would not budge on the price, in retrospect it was worth what he wanted. I spent some time talking with the seller and he agreed to sell a Cambo view, not sure of the model, lens, tripod, film holders and a case to a lady looking to get in to 4x5 for $300; that seemed to be good deal. I also was intrigued by a Newman and Guardia (N&G) Reflex, it was in decent shape but the focal plane shutter needed work and it seemed too steep at an asking price of $375
Google Really, Really Wants Filmmakers to Try Its New VR Camera
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Other than that there was really not much there this year and what was there seemed to be the same old nic-nacs I saw the past few years. I also spent some time talking with an asian man who had a table and who is very nice and I see him every year. Every year he asks me what I want to sell. I asked why he always wants to buy and never seems to sell anything, he told he has thousands of cameras and just wants to buy. He really is funny and pleasant to talk with.
All of those things. If you\u2019re new to photography, it\u2019s a case of experimentation. If you are really, really new to photography, as in you have no idea about aperture and f-stops, buy a book, take a class, watch some videos online. You can go onto YouTube and learn the basics of photography. It\u2019s pretty easy.
Filmmakers have experimented with new camera shots and angles since the development of the first motion-picture cameras. This list of shot types offers an overview of frequently used options, but filmmakers continue to invent new ways to tell stories.
So far this monitor has come in really handy. We not only use it for framing and keeping focus on the job, but we spin it around and use it as a guide when presenting to the camera. We also hook it up to the top down for framing our overhead shots.
I own both, and it's really all a matter of taste and photographic style.
FTb:
Pros: Heavy (mean stable shots), looks more "professional" as in bigger, can function without a battery, high build quality, since it uses no battery to run the shutter you can make a Bulb mode exposure for as long as you like, Mirror Lockup (which is good when using lenses where the rear glass element might come in contact with the mirror). The QL aka Quick Load system is awesome and unrivaled.
Cons: Heavy (if you're not strong in the arms, might not be a good fit), bigger (not one for smaller hands either), uses older batteries that are either hard to find, adapt, or no longer exist which means you either use the Sunny 16 rule or get a hand held meter. It's also older, which means they could be pretty wore out depending on what one you find. The Mirror lockup since when it's engaged you can't see anything, so you better know how to "Zone Focus". Not as common, so if you break it, you might have to sit it out for a while to find parts.
Shot with an FTb with the FD 50mm f/1.8
Canon AE-1:
Pros: Lighter, smaller, much more common which means better prices and more parts if it breaks. Newer of the two, you still may need new light seals but you also have a better chance of finding a nearly new one. Runs everything on one battery (the FTb uses two, if you can find them, but like I said before, it's fully functional without it). The ones I've owned, the meter is accurate. Larger user base, so you stand a good chance of finding someone who knows the camera from inside and out; literally. Has some automation with can be a nice thing if you're just starting out.
Cons: Smaller (if you have larger hands), lighter (if you use long zooms and have a heavy caffeine habit). Uses a battery. This can be a pain when shooting in cold weather (which kills batteries FAST!), or shooting long exposures as the entire system is powered by the battery and keeping the shutter open will also drain the battery. It can also be an issue since it's an unusual battery not often found in some stores (like AA's and AAA's which seem to be found everywhere). Not as high of build quality as the FTb. The unfortunate part about this camera is that it's often a throw-away when it breaks because the repair usually costs more than picking up another functioning AE-1. The AE-1 Programs have (rumored but could be true) even lower quality parts than the original AE-1. Sometimes suffers from "Shutter Squeak". I've never had it happen...yet.
Shot with an AE-1 also using the FD 50mm f/1.8
I feel it all comes down to what you're shooting. If you're doing sports or street, I'd go with the AE-1 as it's lighter and you can get an autowider attachment as well (which I think runs off of four AA's).
But if you are taking long exposure shots or do a lot of winter or cold weather photography, I'd go with the FTb.
Though if you can swing it financially, I'd buy both.
ages ago(permalink)
None taken, Ross. If we all agreed on everything the world would be very boring and we would all be using the same camera. I bought my Spotmatic because it was very cheap and did what I needed it to do. It taught me the exposure triangle and I get as much joy today as I did five years ago when I bought it. I paid less than $30 for it and it came with a Helios 44m-4 58mm f/2 lens. Thread mounts are a little cumbersome yes, but you have to agree that the availability of great quality M42 mount lenses is enormous. I currently use a Meyer-Optik Goerlitz 30mm f/3.5 Lydith on my Spotmatic and really like the photos I take with it.
Tethered capture from Lightroom captures metadata from the digital image (date, time, aperture, shutter speed, camera, lens, etc.). This is good but what I really want in the metadata is when the original photo was taken, who the photographer was, aperture, shutter speed, film ASA/ISO, etc.
I gave myself a day and a half to come up with an idea, shoot, edit, and color. Having no budget or crew, I decided to keep the idea really simple, shoot only with natural light, not have any dialogue, and limit the locations as much as possible. Ultimately things came together well, and the small footprint of the camera made it possible to capture lots of material even while shooting guerrilla style.
Nice. If anyone wants to shoot narrative on a budget it seems crazy not to use a Blackmagic camera these days. That said, the audience for the pocket was pretty split. It was half hobbyists messing around with adapters and vintage lenses etc, and half large productions using them as crash cams or whatever. I expect the micro will end up filling the same role.
Other than Argus products, the Kodak Automatic 35 is really the only camera I have intentionally tried to collect. I have parts of 4 of them in a box, and may or may not have actually had one working for at least part of a roll.
A lot of the stories, a lot of the applicants are shooting, editing, producing. I love this ability too, because of the technological advances, because of the cameras that we can finally afford you can get a 5D and shoot really beautiful stuff. And then I love women who also edit their own stuff. I just love that. I love the fact that you have full creative control of what you're putting out there in the world.
Chakarova: A lot of these stories that people are pitching, as well as the stories that we produce, are under-reported, and a lot of them focus on migration and race. A couple of the women on my team were immigrants. We came from other countries. This is our new home, but I think we see America through a different lens because we didn't grow up here. We grew up in other societies and other cultures. And I think it's really important to have more women behind the camera having the opportunity to tell those stories.
The other great thing is you're going to get to hear back from us. Each single person who applies, we'll get the individual attention they deserve and not fall through the cracks. Because we are small, and I think that's really important, to care for the filmmakers and kind of treat them the way I want to be treated.
Chakarova: Greater creative control. We need greater creative control of our work. It's not just enough to have more women behind the camera shooting. There's a lot of cinematographers I know who are women, but then who ends up telling the story? There's a lot of women editors I know, but then whose vision are they really editing? Same goes for distribution, which is the final stage. If someone is asking you to make certain changes to your film, and those changes do not reflect your sensibility, do you do it?
Other than the little switch on the back that flips between those color settings, there's nothing else to mess with. The only other button on the Paper Shoot is the shutter, which is placed on the front of the camera, right where your pointer finger naturally wants to sit when holding it.
One of the downsides of wanting to use a dedicated camera rather than your phone is that you have to carry it with you, and cameras can get bulky. The Paper Shoot, on the other hand, is so light and thin that you can put it in any bag or even your shirt pocket without really noticing it.
Despite these few flaws, I still consider the fun little camera to be an integral addition to my collection. Even though I love cameras, I am in no way an expert on the details of fine photography. And if you're like me, you really can't go wrong for $120. The Paper Shoot is a basic, easy-to-use camera that makes beautiful photos, and you don't need a ton of knowledge to use it.
thanks a lot for the article, I already tried it with my kodak retinette 1a, and it worked great, loved the result. I was wondering... Can I do this on my Olympus mju? The camera has automatic rewind. I don't know what happens if you open the back while it's rewinding automatically. I would really appreciate some help. Thanks a lot!
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