Fractured
February 17, 20148 CommentsMusingsI can no longer deny my propensity for "fractured photography." Now I just need to figure out what, exactly, that means.
I can no longer deny my propensity for "fractured photography." Now I just need to figure out what, exactly, that means.
It's not often I give my impressions of modern digital cameras because, frankly, it's not often that modern digital cameras impress me. So hold onto your socks, because this article contains impressions of not one, but two modern digital cameras — the Olympus OM-D EM-1 and the Ricoh GR.
If two wrongs don't make a right, then how many wrongs does it take? At last, the answer is revealed!
Unsurprisingly (and like most photographers), my Holiday wish list is once again filled with all manner of photo-related paraphernalia. The surprising part lies in my definition of what constitutes "photo-related paraphernalia."
How can photographers measure their success? Through simple mathematics, of course.
My readers are well-aware of how stubbornly I hold onto certain photographic convictions — particularly my belief that photos are best-enjoyed printed. In a time when many photographers have never seen even a single one of their photos in print (much less a collection of prints), it's a delight to come across a world in which photographers still practice the fine craft of distributing photographs the "old fashioned" way — via small, independent magazines. This article discusses one such magazine, Littlefields, and how it gives me hope that photography's future need not resemble its present.
What's a busy fellow to do? Faced with a backlog of photo-related correspondences to write plus another blog article to develop, I had but one choice: Multitask!
There's more than one way to fill a negative. So when another attack of flat-back panoramic camera lust flared up recently, I chose to extinguish it not with a big bad Hasselblad Xpan, but with a diminutive little half-frame faux-panoramic camera, called the "Minolta Freedom Vista."
Lately, it seems everyone I know is buying an Olympus PEN. Not wanting to be left out, I too jumped into the waters — only instead of getting one of those new-fangled digital PENs, I opted for a classic mid-1960's PEN FT film camera.
There are two types of street photographers — those who choose the label, and those whom the label chooses. Which are you? Which am I? And why?
Welcome to "ULTRA U," my new online university dedicated to the preservation and dissemination of photographic knowledge, as best I can manipulate it. Here, in Lesson 1, I'll discuss the real history of film formats for still photographers. Give it a read — you'll likely find it's not nearly as dry as you might suspect, and I guarantee you'll learn something you never knew before.



