Two weeks ago, we reported on Canon’s CE-SAT-IB satellite camera, which was set to be launched alongside six other satellites aboard Rocket Labs’ Electron vehicle as part of its ‘Pics or It Didn’t Happen Mission.’ And, well, whoever chose the mission’s name might want to choose something a little less ominous next time, as in keeping with the theme of 2020, it’s been reported all payloads were destroyed during ascent due to a rocket failure.
According to Rocket Lab, its Electron vehicle, which housed Canon’s Earth-imaging camera and six other satellites, failed late in its journey after taking off from Mahia Peninsula on North Island, New Zealand (Te Ika-a-M?ui)
The optical imaging system inside the CE-SAT-1B (pictured) is based on Canon’s EOS 5D Mark III design. Image via Canon
In a Twitter post shared on July 4, Rocket Lab CEO Peter Beck apologized to Rocket Lab customers, saying ‘I am incredibly sorry that we failed to deliver our customers’ satellites today. Rest assured we will find the issue, correct it and be back on the pad soon.’
No specific cause for the issue has been shared at this time, but the launch video, which was live-streamed for the world to see (and embedded below), shows the video feed from the Electron rocket cutting out just shy of six minutes into its flight. Not long after, you can hear a Rocket Lab team member say the less-than-inspiring phrase ‘initiating mishap response plan.’
In a press release, Rocket Lab further elaborated on the incident saying ‘Today’s anomaly is a reminder that space launch can be unforgiving […] The launch team operated with professionalism and expertise to implement systems and procedures that ensured the anomaly was managed safely.’
Rocket Lab is already in the process of getting future missions in place and Canon already has its CE-SAT-IIB satellite ready for a Rocket Lab mission later this year. We have contacted Canon for comment on the incident and will update this article accordingly if we receive a response.
This sample gallery includes images from our recent review of the Tamron 28-200mm F2.8-5.6 Di III RXD zoom lens. Check out these photos to see how it performs, from wide-angle to telephoto and everything in between.
The post Tips for Organizing Photos in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.
No matter which RAW photo editor you use, organizing your photos is probably one of the least enjoyable tasks in your photography workflow. However, setting up your catalogs correctly, or making changes to its structure, can ultimately save you a lot of valuable time. In this article, I’ll give you some tips to get you started on organizing photos in Capture One.
Capture One Pro Worksapce
Setting up your Catalog for success
Capture One offers you the ability to work in Catalogs or Sessions. It’s recommended that you work with both.
A Catalog in Capture One functions like a Catalog in Lightroom in that it helps you organize large libraries of images; however, it offers more functionality. On the other hand, Sessions are great for on-set shooting and tethered shooting in studio and are an efficient way to organize the images from a specific shoot.
There are different importing strategies you can use when organizing photos in Capture One. However, before you get started, you should, decide where you’ll put your catalogs.
They don’t have to live in the same location as your photos, but your catalog should be kept in the fastest, most high-performing place you can put it – which is usually your computer’s internal hard drive.
In short, consider the performance limitations of any storage medium that you use when organizing your photos in Capture One.
Starting a new Catalog
If you’re new to Capture One, you’ll want to start a new Catalog. Creating a Catalog creates a new database; it tracks photos and adjustments, and stores metadata and keywords, and a small preview of your photos
You can have a single catalog for all of your images, which is further broken down into Sessions and Albums etc. depending on how you want to set up your workflow. You may choose to have more than one catalog; for example, a catalog for personal photos and another for client work.
I shoot food and still life photography for several stock agencies. I like to keep these images separate from my client work, as it helps me feel more organized. However, this is simply my preference. You may decide to organize your photos in Capture One differently.
How to start a new Catalog:
Navigate to File in the menu bar at the top of the Capture One workspace.
Choose New Catalog. The dialog box will appear.
Type in the name of your new catalog. Notice the location of where your catalog will be stored. You can change this by clicking the three dots to the right.
Hit OK. Now you’re ready for the import process.
Importing from an external hard drive
The chances are that you shoot a lot. If you shoot RAW files, it doesn’t take long for your computer’s hard drive to fill up with thousands of image files. Therefore, it’s a good idea to keep your image files on an external hard drive to keep your computer’s performance at an optimal level.
I keep my Capture One catalog on my iMac but have my files stored on two 4TB external hard drives – my main storage drive and a backup with duplicate files.
I also shoot tethered to a laptop when I shoot for clients. In this case, I save a backup of my files on a 1TB external hard drive and upload the photos to my main external drive after my shoot.
Before you get started with importing images, make sure that your image preview size is at least as large as your monitor, to ensure that they render properly. You can set this in your Preferences.
How to import from an external hard drive:
Go to File and choose Import Images. A Dialog box will pop up. Choose your external drive from the dropdown under Source.
Make sure to check off Include Subfolder to see your photos in the Capture One workspace, otherwise it will appear blank.
Choose where you want to import them to under Destination. I have a file named after every calendar year on my main drive. I create folders named after the contents of the shoot. ie: Blood Oranges, Moody Whiskey, Carrot Cake, etc.
You can also create another backup and save the images to that location.
After you have chose your importing parameters, hit Import All.
Leave your photos in the current location to honor the file structure that already exists on the hard drive you are copying from.
Importing from a memory card
To import your photos from a memory card, you need a Destination folder to get them off the card. You may already have a folder in mind or you can create a new folder ie: My Photos
The dialog box will pop up once the card reader and memory card are connected to your computer. The process is the same as for importing photos from an external hard drive.
You can create Subfolders and further organize the images by date or other criteria. Capture One calls this Tokens. Tokens pull this data from the photo.
If you click on the three dots next to the Subfolder option, all of the various Tokens will come up. You can then click and drag them individually to the Format section, as well as drag them around to place them in a certain order.
Be sure to scroll down to see all the Tokens.
I usually choose to organize further by date, or date and time. Often I also include “Rights Usage Terms” to help me track licensing stats of various photos.
Once you have chosen your tokens, hit OK and then Import All.
Moving files and folders to another location
If you want to move files between folders, you can just drag and drop them. The database understands that you’re doing this within Capture One. When you attempt to do this outside of Capture One, this is where you get into trouble.
Moving outside of Capture One is slower, and you’ll have to relocate the files.
You’ll get an Offline notice and will have to locate it by right-clicking on the image and choosing Locate and navigate to where your image is. Capture One will re-establish the connection.
If you move a whole folder, it’s the same process.
You can move folders the same way you move files, and move them from your internal drive or an external drive.
Organizing with User Collections
User Collections is the best way of organizing your photos within Capture One. If you use Lightroom, you’ll be familiar with the concept of Collections.
There are too many limitations when trying to organize by folders because you can’t bring certain images together for a specific purpose, such as printing your work, unless you move them. Therefore, User Collections is the perfect solution.
There are four powerful organizational tools in User Collections:
Album
Smart Album
Project
Group
Project is like a master container to put your Albums in. You can’t just drag images here; there has to be an album inside.
Much like a physical photo album, Album is a way to organize groups of photos that have a similar theme, such as vacation photos, or photos from a wedding shoot.
How to start a User Collection
To start a User Collection, click on the + arrow to the right of the User Collections dropdown.
Then give your Collection a name and hit OK.
Smart Albums
Smart Albums are a way to take this a step further, by giving you the ability to organize with star ratings and color tags. If you’re a Lightroom user, you’ll also be familiar with this concept.
Smart Albums populate themselves based on the criteria you pick. If you click off a star or rating, it will disappear from the collection, because this feature is dynamic.
Click + to add your search criteria, or use preset color and star ratings.
Conclusion
Organizing your photos in Capture One takes some effort and experimentation using the various tools the software has to offer. It’s a powerful program that has a lot of intuitive tools to help you create the most efficient workflow for your photography.
If you have any other tips for organizing your photos in Capture One, let us know in the comments!
The post Tips for Organizing Photos in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.
Paddling in blue: blue sky, blue paddleboard, blue paddler, blue leash … Happy accident or conscious color selection? I am not sure. This picture in from my morning paddling in May on Beaver Pond in Arapaho Bend Natural Area, one […] paddling with a camera
The post 15 Quick and Easy Poses for Family Photographs appeared first on Digital Photography School. It was authored by Jackie Lamas.
In this article, we’re going to share 15 quick and easy poses for family photographs to try at your next family photo session to keep it moving smoothly. You will also have great poses to choose from when it comes time to deliver the images to your clients.
These poses are useful for all family sizes and types so that you have a great variety to deliver once complete.
Canon EOS 5D, Canon EF 85mm F1.8 USM, 1/250th, f/2.8, ISO 250
1. Standing poses
When it comes to photographing families, a standing pose is a great choice. This way, you’ll be able to see all family members in the portrait.
Canon EOS 6D, Canon EF 50mm F1.8 USM II, 1/1250th, f/2.2, ISO 400
You can vary the standing pose with the family close together, connecting in one way or another with hands. Having the family get close can help to create more of a connection between the family members.
Canon EOS 6D, Canon EF 28-105mm F3.5-4.5 USM, 28mm, 1/160th, f/8, ISO 400
Another great standing pose is where you give each person a little bit of space and take a wide shot. This works for small and large families!
2. Group squeeze
A group squeeze is another of the great poses for family photographs given that it can bring about some genuine smiles from the family, which is the real focus of the pose.
Ask your clients to get close and hug each other while still facing the camera, then ask them to squeeze tight and watch the laughter happen! Take as many photos as possible of the moment as the family will love to see these natural expressions caught on camera!
3. Sitting pose
Sitting is another great pose to try. First, ask if there is anyone who has problems sitting or getting low. If there are family members with issues, try and use a chair or a posing stool.
Otherwise, have the family sit comfortably and get variations of the family looking at the camera, looking at each other, perhaps sitting a little further apart, or try to have the children behind the parents sitting a bit taller.
If you are going to use a chair or stool, it can bring about many different levels in a photograph that will make the poses more interesting. Try people behind the person sitting on the stool, move the stool/chair to the side, and have everyone fill in around.
Canon EOS 5D, Canon EF 50mm F1.8 USM II, 1/1000th, f/2, ISO 400
If you’re photographing a big family, you can even pose family members beneath the stool/chair to add to the levels.
4. Walking together
When looking for poses for family photographs, you can’t go past them walking together. It is a great pose for all families, especially if they feel a little nervous or stiff. Have them line up and walk towards you while they look at each other and laugh.
Encourage them to talk and joke amongst themselves to make the shot look a little more natural.
5. Smaller groups
This pose is for big family sessions where you’re photographing smaller groups that make up the big family. Get each smaller family alone and photograph them in two to three different poses each. Use the same poses for each family to keep the session consistent. When all the family photos are put together in a wall gallery, for example, the photos fit well together.
You don’t have to use the same pose for all, you can change it up depending on the feeling each smaller group gives you. However, when we say keep it consistent, we’re talking about the lighting, background, and focal length.
6. All mixed up
A fun way to photograph the family is to have them mix it up and then get together for a portrait. This can get the family scrambling and laughing; allowing you to get more natural smiles from the entire family.
Canon EOS 6D, Canon EF 50mm F1.8 USM II, 1/320th, f/5.6, ISO 250
7. Jumping
Jumping is another of the great poses for family photographs. Capturing a jumping shot is a great way to loosen up client nerves. More than actually getting the best shot, the jumping photo is to get everyone laughing and having fun.
You can photograph the jump with the family facing you or away from you. Make sure you get low so the jump looks more dynamic.
8. Just the kids
It’s good to also get a few photographs of the children without any adults in the photos. For siblings, get them playing or hugging.
For larger groups of children, like grandchildren, get them all in a group squeeze or on different levels like piggyback, sitting/standing, or all lined up so that everyone is seen in the portrait.
You can also break down the groups of children into girls, boys, older and younger, and maybe all playing together.
9. Exploring
Nothing says meltdown like telling children to hold still and pose. To avoid a potential meltdown, allowing kids to explore their surroundings helps to keep them moving and engaged in the session.
Get the parents involved in exploring the location. It could be smelling flowers, picking up sticks, and taking in the surroundings.
This works perfectly for kids who are more sensory and for younger children. It can also help older kids feel less nervous and less focused on during the session.
10. Playful
Having fun is one of the best parts of the client experience. Making sure that your clients, especially the children, have a good time is really important.
Photograph the children building sandcastles, enjoying the playground, throwing a ball, or playing a game with their parents to help keep everything light and fun. It’s not a pose exactly that you direct, but you can choose where to have them play.
Having playful photos of the family completes the story of the session and also shows a more lighthearted side to the family. It also makes the session less stiff and serious.
Canon EOS 6D, Canon EF 50mm F1.8 USM II, 1/120th, f/5.6, ISO 400
Even if you’re in a studio, you can blow bubbles, play songs, have a dance party, and play with sounds to make the session more playful. Toys are a wonderful idea for smaller children.
11. Just the adults
While getting photos of the whole family is important, getting one or two poses of the adults by themselves also works to add variety to the whole session.
If the adults are a couple, pose them together in the same location. Take one with them looking at the camera and one looking at each other. Then have them walk a little while as they talk to each other.
If they are able to sit, get a couple of photos of the couple sitting, either on steps, benches or on the grass/ground.
12. Holding hands
Holding hands is a good way to show a connection among the family members. Choose different poses, either sitting or standing, where the family is holding hands. You can vary it with big groups where some are holding hands and others are not.
This works for children to get them to stand in the same place together. It can also help to hold hands with younger children so that they don’t stray too far and are engaged in the session.
13. Being themselves
Allowing your clients to simply be themselves as a family can be just the thing to calm nerves and help the session flow much more naturally. Help them by choosing where you want them to sit or stand and then have them talk amongst themselves.
Perhaps tell a joke, dance or play. Allow the family to get natural expressions, which adds more variety to the final gallery.
14. Kisses
Families love each other and often show affection for each other. Kisses are natural and can show a real connection. You can choose to have the parents kiss while the kids make funny faces, have siblings kiss and hug, or have grandparents give kisses on the cheek.
This works best with young children like babies and toddlers to show affection and draw the baby’s attention to the parents. It also works with group squeezes with smaller family units.
15. From behind
Complete your session images with a final shot of the family from behind. This can be a silhouette or have the family overlooking the location where they are, like a beach, for example.
It can be a great photo to finish your client’s gallery with a nice contemplative photo of the family simply looking and being themselves.
In conclusion
It’s great to have 15 poses for family photographs that work for all families and all situations. Use these 15 poses, and you’ve already got a great start to your client’s gallery! Do you have any go-to poses that work for all family sessions? Share in the comments!
The post 15 Quick and Easy Poses for Family Photographs appeared first on Digital Photography School. It was authored by Jackie Lamas.
The Tamron 28-200mm F2.8-5.6 Di III RXD provides a wide zoom range in compact, weather-sealed design. Find out why it’s Chris and Jordan’s new favorite travel lens.
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Intro
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Barrier Lake sample photos
Chromatic aberration
Minimum focus distance
Mount Lorette Ponds
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The post How Using Instant Cameras Can Improve Your Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
There is something magical about instant cameras. Depress the shutter button and a little image is ejected, slowly developing before your eyes. More than just a novelty, instant cameras have practical and artistic applications. Here’s how using instant cameras can help improve your photography overall.
What are instant cameras?
First things first. What exactly is an instant camera? Generally, the term instant camera describes a camera that uses self-developing film to deliver a photographic image within minutes of pressing the shutter button.
The Instax Mini and Barbie Polaroid instant cameras. f/4, 1/50, ISO 500
The first commercially viable instant camera system was introduced in 1947 by the founder of Polaroid, Edwin Land.
A year later, Land’s Model 95 Land Camera and the corresponding film went on sale in a department store in Boston. The cameras, which dramatically altered the accessibility and creative possibilities of photography, sold out in mere minutes.
Land and Polaroid continued to develop instant camera systems. Originally delivering a sepia-toned image, instant film graduated to black and white and then to color in 1963.
However, up until 1972, using instant cameras was much less straight forward than the process we know today. Exposed Polaroid film required a photographer to peel back a negative sheet after 60 seconds to reveal the instant image. This often left chemical residue on the user’s hands.
Some earlier processes also required users to coat the developed film with a mixture of stabilizing chemicals.
f/4, 1/40, ISO 300
The arrival of the Polaroid SX-70 in 1972 marked a turning point in instant camera technology. The SX-70 ejected film with no negative sheet or chemical residue, shaping the trajectory of instant camera models thereafter and realizing Land’s dream of a fully instant camera system.
Instant cameras may have been largely superseded by digital technology today. Still, the distinctive aesthetic and physicality of the instant camera process have seen a resurgence in recent years. Companies like Polaroid, Fujifilm, and Leica all offering up modern incarnations of the instant camera and corresponding film.
A new approach
There are many ways using instant cameras can improve on a photographer’s process. Perhaps the most obvious impact of modern instant photography is the practical knowledge that a less-than-mainstream photographic medium affords.
Since their invention, instant cameras have presented an intriguing alternative to standard photographic practice.
Andy Warhol made famous use of the instant camera, as did Luigi Ghirri – a pioneer of color photography. By using both a familiar yet unique photographic technique, these photographers (and many more) pushed the boundaries of what was understood to be the accepted approach to photographic image-making.
Most modern photography is created and distributed digitally. But stepping away from the norm to negotiate the ins and outs of an instant camera presents new perspectives and challenges – broadening artistic experience and opening up creative opportunities.
The benefits of new photographic experiences are not exclusive to instant cameras. However, the process, inherent associations, and distinctive aesthetics of instant camera photography can contribute greatly to the many layers of visual language a photographer draws upon in the field.
Getting it right in-camera
They’re nifty, but keeping an instant camera stocked with film can be pricey. This means that getting the most out of each frame is a priority. Even though price can be a downside to using instant cameras, maximizing the success of each shot encourages a more effective photographic practice overall.
Getting an image right in-camera makes the most of the technology at hand, refining photographic skill sets and saving time. By measuring an exposure against a limited amount of instant film frames, instant cameras slow the photographic process, inviting the photographer to carefully and deliberately consider creative and technical aspects before depressing the shutter button.
While instant camera photography often departs from the technical standards of digital and film photography, this ‘slow’ approach to photography inevitably translates to other facets of a photographer’s practice, honing visual awareness and sharpening technical skill.
Pre-Visualisation
An early proponent of instant camera technology, Ansel Adams maintained that pre-visualization was a critical component of strong image-making. As we’ve touched on, instant camera film isn’t cheap, but pre-visualization is a valuable way to minimize dud shots.
Pre-visualization involves mentally untangling the many components that go into executing an effective photograph before the photograph is made. By pre-visualizing, a photographer can take executable steps towards achieving an appealing image in-camera, often with greater efficiency and success.
Instant camera photography is a great way to capture and preserve memories.
The risk of wasting expensive film makes the need for pre-visualization particularly pronounced in instant camera photography. The more consideration that is put into an image pre-exposure, the greater the chances of a successful instant photograph.
Also, the immediate effectiveness of combining pre-visualization techniques with instant camera photography generates positive momentum. This then feeds better habits across all forms of photographic practice.
The reset button
Instant photography was designed with fun in mind, so it’s no surprise that the simple, idiosyncratic cameras provide a well-deserved distraction from the effects of creative fatigue.
Paired back in design, instant cameras tend to have less in-built settings than their digital counterparts. This simplicity can encourage creativity in composition and subject selection over technical perfection.
f/7.1, 1/25, ISO 500
In addition, the unique aesthetic of instant photography is viewed as the marker of a distinct and quirky artistic process. This means that some mistakes that would ruin a digital image are embraced in an instant camera photograph.
This loosening of technical constraints means that instant cameras can serve as an effective refresher for photographers looking to recharge creative batteries.
Conclusion
Using instant cameras isn’t just fun, it can inform and improve your image-making overall. With a unique aesthetic, limited film and paired-down design, instant cameras are an engaging alternative to the photographic mainstream.
Do you shoot with instant cameras? Share your thoughts and images with us in the comments below.
The post How Using Instant Cameras Can Improve Your Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
The post Canon’s New 1 MP SPAD Sensor Offers Potential for Highly-Sensitive Imaging appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon has just announced the completion of a 1-megapixel single-photon avalanche diode (SPAD) image sensor, making it the first of its kind.
Traditional CMOS sensors work by capturing photons (i.e., particles of light), and converting them to charge (which are ultimately transformed into digital pixels).
That way, when you press the shutter button, your camera’s sensor starts capturing photons, with each photon equivalent to a very small amount of light. These photons are turned into pixels, so that areas of a scene that produce or reflect more light are rendered brightly compared to areas of a scene that produce or reflect less light.
Now, CMOS sensors only offer a certain level of sensitivity. If you shoot at 1/8000s, unless the light is unusually powerful, you’re not going to capture many photons at all, resulting in a completely black image.
(That’s essentially what underexposure is, after all: The failure to capture a sufficient number of photons for a bright image.)
Anyways, that’s how a standard sensor works.
But as explained by Canon, a SPAD sensor works differently:
“When a single light particle…reaches a pixel it is multiplied – as if creating an “avalanche” – that results in a single large electrical pulse.”
In other words: Each photon gives you far more charge to work with, resulting in much greater sensitivity overall.
While Canon’s current SPAD sensor only captures 1 megapixel images, an imaging device that sensitive could offer plenty of benefits in terms of scientific technology. For instance, Canon’s SPAD sensor can expose its pixels in 3.8 nanoseconds, which makes it possible to capture events and features that were previously considered impossible.
Canon argues that “thanks to its ability to capture fine details for the entirety of events and phenomena, this technology holds the potential for use in a wide variety of fields and applications including clear, safe and durable analysis of chemical reactions, natural phenomena including lightning strikes, falling objects, damage upon impacts and other events that can’t be observed with precision by the naked eye.”
There are also applications in terms of 3D imaging, due to a SPAD sensor’s capacity to record precise exposure times.
While it doesn’t sound like SPAD sensors will be reaching consumer sensors any time soon, it’ll be interesting to see how this technology gets utilized!
Now over to you:
What potential applications can you imagine for SPAD sensors? Share your thoughts in the comments!
The post Canon’s New 1 MP SPAD Sensor Offers Potential for Highly-Sensitive Imaging appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
I just returned from a trip to the Victorian High Country in Australia. It was, cold, snowy and misty, et incredibly beautiful. There is such a wonderment to the mist and the way it transforms a landscape.
So, if you are lucky enough to be somewhere you will find mist at this time of year (like here in Australia, go out and take some fresh mist photos. Alternatively, go through your catalog and show us your best mist photos!
Play with post-processing too – try split-toning, black and white or sepia. See if you can make your dramatic mist photos even more dramatic!
Slot photos together, like I do to see how images work together as a series too.
Take them with your camera or phone too (mine are just taken with my phone, as I am yet to find the time to edit my camera shots!)
The choice is yours! I look forward to seeing what you share
Check out some of the articles below that give you tips on this week’s challenge.
Tips for photographing MIST
4 Tips for Photographing Fog to Create Mystical Images
Tips for How to Enhance the Mood in Your Foggy Photos
How to Make Use of Foggy Surfaces for Abstract Photography
Tips for How to Think and Use Lightroom More Artistically
How to Use a Black and White Filter to Improve Your Photos
How to Create Silky Split Toned Black and White Photos Using Luminosity Masks
Discover Seven Ways to Create Sepia Images in Photoshop
How to Dramatically Shape the Light and Mood Using Adjustment Brushes in Lightroom (video)
2 Methods for Creating Duotones in Photoshop
Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.
Share in the dPS Facebook Group
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSmist2020 to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
The post Weekly Photography Challenge – Mist appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
Kodak Portra 800 is a wonderful and versatile color film. And any rumors of it being discontinued, we’re pleased to report, are simply untrue. That’s a good thing, because Portra 800 is capable of producing lovely results in all sorts of lighting conditions and even holds up well to being under or overexposed.
Our friends over at 35mmc have a detailed review of this film stock (which is also a DPR staff favorite). It’s chock full of sample photos. Have a look!
Read: Kodak Portra 800 review
About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at 35mmc.
