Camera Predictions from 1974.  

                                                        

My friend Drew, who had worked with me in a camera shop over 40 years ago stopped by my shop this week and mentioned he browsed through and old second hand store book that discussed the future of film photography.  We spent the afternoon talking about the cameras we owned back then that were the “state of the art”. 

We never could have imagined the amazing transformation photography has taken place since then.

With that in mind I dug out an article I think might be an entertaining re-read. 

In the May 1974 issue of Photo World Magazine was an article entitled “Tomorrow’s Camera: Report from Japan.”  The article by author Tony Chiu first discussed what would be the “next major technological breakthrough in Japanese-manufactured SLRs…a solid-state shutter, which would make cameras less prone to jamming,” and praised that breakthrough. One must remember that in 1974 cameras were mechanically pulling film off a roll, and in front of the shutter.

On miniaturization, he wrote that, “The manufacturers had misgivings about reducing the current dimensions of their SLRs because the decreasing weight reduced protection against shutter vibration.”

On lenses Chiu commented that, “It is conceivable that 10 years from now a compound lens (like zoom lenses have now) may weigh more than the SLR body. Although light weight, plastic lenses have long been an industry dream, there is today no major research toward their development.”

In the article he mentioned also that electronic shutter cameras “in the next decade” would be an  “expensive option available only to top-of-the-line models.”  I am amazed at the changes that have occurred since 1974.  Is it conceivable that the writer of that article would have been astonished at modern developments, and would the thought have crossed his mind that even inexpensive cameras would have electronics?

This next part is really interesting because each of the major companies was asked what their predictions for cameras of the future would be:

Canon – Suichi Ando visualized a portable camera small enough “to be carried in the pocket”, and capable of using 35mm film. Such an instrument would have a “universal lens, which can be changed by the flip of the finger from microphotography to telephotography.”

Nikon – Takateru Koakimoto said that the perfect camera would be one that excludes the chance of human error: “It will be fully automatic, perhaps with a small computer to control the exposure.”  I say that he wasn’t far off in his prediction.

Olympus – Yoshihisa Maitanni believed the ideal camera would have a universal lens and one button will wind the film, focus the picture, frame the image and make the perfect exposure.  He also thought that “Images will be projected directly on to a sensitized material,” fully edited, and enlarged.

Ricoh – Tomomasu Takeshita predicted that major advances in the film industry would reduce the film size. “Within 20 years the 16mm camera will replace today’s 35mm camera.” Such an instrument, as he saw it, would be considerably smaller and simpler – it would have a one-piece plastic lens in a partial return to the “pinhole concept” as well as an “electronic crystal” shutter.

Yashica – Nobukazu Sato’s dream was one that would not utilize film. “Just put the paper into the camera, make the exposure, pull the paper out and spray it.” Such a camera would make use of ultraviolet rays, and would also feature a universal lens and a fully automatic focusing system.  Both Ricoh and Yashica are no longer manufacturing cameras.

The writer of the article continues to say “Will we see such marvels in or lifetime?”

“Perhaps by the end of this century” a photographer’s choice could be  “For the amateur, a single lightweight, compound (today we use the word “zoom”) lens will replace three or four of today’s standard lenses. And price – as it is today (1974) – will remain just within reach at the upper end of your budget.”

Will the cameras that we think are amazing today even be around in 20 years? I wonder what the future will bring?

“It no longer matters if a person knows anything about photography, anyone can take a picture”      

I met a young creative photographer that is working hard to make sure his photographs stand out amongst the legions of picture-takers in this popular and expanding medium. He leaned on my counter and gestured into space as he made that seemingly painful statement to me. “It no longer matters if a person knows anything about photography, anyone can take a picture”

His goal is to produce images that are visual statements of how he feels about the subjects he photographs. He has studied and studied and wants his work to be seen as more than just documents of the world around him.

The medium of photography has become very accessible for everyone. The days when most serious photographers actually went to school to learn about photography and had to be an engineer and chemist are long gone.

With today’s supercharged and computerized cameras many photographers get away without any knowledge whatsoever of photography.

Historically, photographers had to understand the combinations of shutter and aperture for a properly exposed image, and worried about camera shake and film choice. Photographers would carry more than one camera because they wanted the resulting photographs to be in both color and black and white.

One must remember that a few short generations ago photography needed large glass plates, hazardous chemicals, bulky cameras and wagons to carry everything.

I am not sure that the photographers of the late 1800’s or early 1900’s were actually interested in photography as a creative medium as much as a way to document reality of their unknown world.

Whether trying to convince some person to sit as still as possible for long time periods or setting up unwieldy photographic equipment on a cold mountaintop to photograph the view, photography was once a challenge that most of today’s photographers would shy away from.

There are those that are intent on complaining that with the end of film comes the end of photography. Personally, I don’t think film is going away any time soon. (Film is just one way to make a photograph.) The big box outlets may not carry it much longer, but there are lots of specialty items artists use that are only available in specialty stores, and I think film is still available at some small shops. However, the chances of getting the correct advice from the person behind the counter doesn’t seem likely.

Yes, anyone can take a picture nowadays. That’s a good thing and not something to complain about. There are lots of good photographs being taken and although most of them fall into the category of documentary or snapshot photography. People want visual memories of their world and the many camera incarnations are perfect for that.

I look forward to seeing more photographs made by that young photographer and others like him. My advice to him would be to embrace all the exciting technological advancements he comes across as he strives to make his photographs stand out in. After all photography has always been about technology.

I am sure he will work at producing images that will be technically perfect visual statements about what he feels or wants to say.

There are many, myself included, who are interested in the viewing good photographs. It doesn’t matter how the image is produced as long as the final photograph has something to say and is visually exciting!

That critical comment “anyone can take a picture” shouldn’t make any of us worry as we look forward to the future of this exciting medium.

Another Vancouver Camera Sale & Swap Meet   

Vancouver is famous for it’s rain.

Pounding Vancouver rain was what greeted my friend Laurie Patmore and I as we rolled our loaded carts into a large room filled wet shouldered people that were arranging all sorts of camera gear on their tables for the Vancouver Camera Show and Sale.

It was 7:30AM and we had two hours to say hello to long time friends and get our equipment ready for an excited crowd of photographers anxious to exchange their hard earned money for the shiny items on our table.

Laurie, as always, disappeared and left me readying the table. Selling stuff is fun, but searching for and finding treasure is way more fun.

This time I had lots of old manual zoom lenses that I just wanted to get rid of any way I could and I wanted to organize my cameras so people would see them first.

Those zooms lenses were prized and sought after back in the 1970s and early 80s, but now they have lost their allure and aren’t even used as paperweights. Nevertheless, I keep trying to sell them. Actually, “get rid of them” are much better words.

Every show I go through the guessing game of what will sell. Last time anything from the 1970s was popular and digital equipment was totally ignored. However, this show there was little interest in the old manual equipment. It was mostly digital equipment that attending photographers were interested in.

What keeps me coming back year after year? Well the people, of course.

The large, bustling, international, coastal metropolis of Vancouver British offers almost anything one could wish for, and events like the Vancouver Camera Show are always a great excuse to spend time there.

The advertisement says. “ Antique, vintage, digital, and everything else for photography, new and used. Do not miss this opportunity to the fascinating world of photography”.

I agree. What an opportunity to enjoy the exciting and fascinating “world of photography”.

I enjoy the people.

Of course looking at, touching and discussing some precious piece of camera equipment is darn fun, making pictures is stimulating, exciting and a rousing force.

I know we all can hardly wait to look at our latest picture on the computer screen as soon as we depress the shutter and making those pictures is all consuming. But talking with other photographers is exhilarating.

The Vancouver camera show and sale is over for 2018 and I’ll have to wait till the spring of 2019 for the next show. I am more than satisfied knowing that I have already planned a couple more photography excursions for this year.

I found this fun quote by the famous Canadian singer Celine Dion,

“I don’t know if the camera likes me, but I do like the camera”.

 

 

 

 

 

 

I like Black and White Photographs   

 

I have always been drawn to Black and white photography.

At one time I even believed that B&W was the only medium serious photographers worked in. To me a black and white photograph has a mood and conveys a tactile quality. That’s why many of my personal image files get converted to B&W.

During film’s reign photographers had to decide whether to use black and white film, colour film or slide film. Most of us carried at least two camera bodies, but today the decision to make a black and white image is best left to post production; there is no need for that second camera. Post-production is the intricate combination of computer programs, printers and papers that now rivals the quality of chemical-based, traditional black and white photography.

Traditional black and white depended first on the brand and type of film, for example, Kodak Tri-X, or Ilford Delta 400, etc., then the camera’s initial exposure, how the film was developed (what chemicals were to be used), and finally the choice of paper for final printmaking.

The digital sensor has more latitude than film and getting a usable exposure is very easy. If one over-exposes it usually isn’t a problem. An poor exposure with digital does equal a loss in image information, but much of the time its still a usable photograph.

With film we used to hear “shoot for the shadows”. With digital all that has changed, and of course we can check our exposures using the histogram.

Most digital cameras have a black and white mode available in the menu, but I don’t recommend using that, it does nothing more than create identical red, green, and blue channels in the final picture file. Just de-saturating a colour data file in-camera will give a monochrome image, but it doesn’t include control of the different tonal values that make up a true to reality black and white image.

When I first started making black and white pictures years ago with Photoshop I used a B&W conversion process that used the channel mixer. To do that I first opened the image, then I went to the menu and selected adjustments, then in the drop down list I selected Channel Mixer. I checked the monochrome box at bottom left; I changed the red channel to 60%, changed the green channel to 40%, ignored the blue channel, and changed the constant to +4. Finally I clicked ok and I had a black and white image.

Those days are long gone with modern programs like ON1 and Luminar with their many pre-set Black and White offerings. Making a good B&W is as easy as choosing the tonal value that one prefers. And, of course, there are many more, just do a search.

A black and white photograph depends on its ability to communicate, as it doesn’t attract with eye-catching colours for its’ visual presentation. Those B&W images that stand out combine attention to lighting, composition and perspective.

Black and white photography is far from being left behind in the past, and in my opinion, with the current processing software, updates in high quality printers, and the latest in printing papers, black and white image-making will continue to be an option for serious photographers.

 

 

 

A performance of the Photographic idea 

 

Ansel Adams, in the Forward to his popular selling 1950’s book “The Print” wrote,

“Photography, in the final analysis, can be reduced to a few simple principles. But, unlike most arts, it seems complex at the initial approach. The seeming complexity can never be resolved unless a fundamental understanding of both technique and application is sought and exercised from the start. Photography is more than a medium for factual communication of ideas. It is a creative art. Therefore emphasis on technique is justified only so far as it will simplify and clarify the statement of the photographer’s concept.”

I have flipped through “The Print” many times since I got into photography. I think that it was almost required reading for photographers at one time. Especially those of us dedicated to hours of time in dimly lit rooms, peering at paper prints as they slowly materialized in smelly, (and somewhat toxic) liquid-filled trays.

“The Print” by Adams is from a period when photography was about striving for the perfect negative and a quality final print (image). Concepts that are all but forgotten in this age of hi-tech computerized image making.

We don’t worry about a perfect negative any more, because even if the image file produced in-camera isn’t perfect RAW files are easily colour balanced, cropped, and sharpened. Contrast can be decreased or increased and the final picture doesn’t show any sign of resizing or noise reduction. And in my opinion, sadly, the trend for many photographers has become to not make prints at all.

I believe Adams’ forward in “The Print” is as worthwhile now as it was in 1950.

Even with the changes of how an image is managed and finally used (whether print or electronic) the thought process and technique should be important. Adams wrote about the technique of taking the picture, the method used to develop the negative, and then finally the printing procedure.

He might as well have been talking about transferring image data from a camera to computer, optimizing the RAW files in post-production, and outputting to a personal printer for the final print.

I thought about that as he continues, “We may draw an analogy with music: The composer entertains a musical idea. He sets it down in conventional musical notation. When he performs it, he may, although respecting the score, inject personal expressive interpretations on the basic patterns of the notes.”

“So it is in expressive photography: The concept of the photograph precedes the operation of the camera. Exposure and development of the negative (RAW image file) (my remarks in parentheses) follow technical patterns selected to achieve the qualities desired in the final print, and the print itself is somewhat of an interpretation, a performance of the photographic idea.” I have always liked that final sentence of his “…the print itself is somewhat of an interpretation, a performance of the photographic idea.”

Those words always remind me, as Adams put it that, “Photography is more than a medium for factual communication of ideas.”

Modern photographers appear to be obsessing with each new offering manufacturers place on the table, and the obsession with technology may often seem to be what photography is really about. Although I will admit that it is fun, I think photographers need to remember that, “The concept of the photograph precedes the operation of the camera.”

That seemingly out-dated book is still on my bookshelf, and I regularly flip through its pages.

After all the prattle about what the newest camera, or lens, or computer program is capable of, I like to be brought back to what, in the end, photography is about for me personally.

The April 2018 Vancouver Camera Swap Meet 

 

The time seems to move so darned fast, has it really been six months since I just wrote about one of my favourite yearly photo events, The Vancouver Camera Swap Meet?

There was a three-day break in the heavy snow that has frequently blocked the high mountain road between Kamloops and Vancouver, and we snuck through. As I am writing this, the news report is predicting heavy snowfall and recommending extreme caution for anyone that absolutely must drive the Coquihalla highway to coastal cities.

We made it, and in spite of three days of pouring rain my friend Laurie and I had a great time. As always, we ate and drank too much and stayed up too late the night before. Nevertheless, we were up early, ate a good breakfast (with lots of coffee) and arrived by 8:00AM to spread out our array of camera equipment on the table we had rented, walked around for a quick visit with long time friends that I have been meeting once or twice a year for the past twenty years, and looked at and drooled over all the exciting photographic equipment waiting for the doors to be open to the public at 9AM.

As usual there was a rush of people as they vied for positions at each table. I will say that there is never rude pushing and shoving, those avid photographers are quite adept at peering between those in front and somehow are able to reach with long arms to pick up the camera or lens they spied.

I have never had anything stolen, but I will admit to being on edge when there is a rush of excited photographers at my table. Keeping an eye on something picked up off my table and answering questions about six different items all at the same time is unnerving.

That said, what actually happens is I get to make a lot of new friends very fast. And there are always those that come up with a wide grin and say hello as they remind me about something they bought from me last year. My feeling is that I am in a large, noisy room filled with a thousand friends.

I have written before that the Vancouver Camera Swap is filled with a diversity of human beings that I enjoy. Photography brings people of all kinds of lifestyles, interests, and photographic specialties together. Everyone is interested in photography, whether film and vintage cameras, or modern digital technology, it’s just all about photography and can be found set out on someone’s table.

Twenty years ago it was really a good old boys club at these camera sales. However, I am delighted to say that those days are long gone in a forgotten past.

Ok, I guess there are a few like me that somehow are still hanging around.

It is now over until this fall, and was no different than the last that I had an exhilarating day with other photographers, and even got time to wander when the crowd cleared at days end.

As I wrote last fall, “a good word to describe the Vancouver Camera Swap meet? Invigorating, energizing, stimulating, exhilarating? Or maybe I should just say it was just good fun.”

 

Thoughts on upgrading to a better camera.     

 

In the previous era of film cameras many serious photographers would come to a point when they would consider whether to upgrade from an automated point and shoot type camera to a 35mm interchangeable lens SLR or to trade in the their well used 35mm SLR for a medium format 120mm camera, and maybe even to take the climb to a 4X5 view camera.

For film-based cameras it was all about the size of the film and bigger was better.  I recall feeling bad for those people that had friends photograph their wedding with a 35mm camera. The only way to get quality-wedding photographs was really only by photographers using larger film in their 120mm medium format cameras.  If one wanted a colourful, sharp, grain free enlargement then 120mm or larger was a must.

What do I now say to a photographer that is considering a more serious approach to photography?   I will always begin with the question, “what are your interests and what subjects do you like to photograph?”

My short answer for digicam and iPhone users is, if sports and fast action, wildlife or quality print enlargements are the goal, then, yes absolutely get a DSLR.    DSLR cameras don’t have shutter lag so sports photography is easy and action demands a camera (and quality lenses) that can adjust shutter speed and aperture. Wildlife photographers prefer a selection of telephoto lenses that can be changed at will, and obviously the best images are produced with sensors that are considerably larger than digicams and iPhones.

Digicams & iPhones are convenient for candid shots. Most of us have ’em in our pocket anyway. However, for photographers that are aware of the huge limitation of those tiny sensors and cheap little lenses the next question is, what is the best choice for a first time DSLR?

For this discussion I will put DSLR cameras in two simple categories, amateur and professional.  The difference between amateur and pro cameras has surely become hazy. If I were to offer a short comment I would say the most obvious difference is durability.  Pro cameras feel sturdy, are heavy and sealed against the elements. When dropped, they usually don’t break, and even with hard use will last a long time.  The amateur camera generally has lighter weight and smaller size.

When the first DSLRs came onto the scene there was definitely a difference in the quality of the images between entry level and professional level cameras, but that is not as distinct now. The technology for sensors and in-camera processing has rocketed.  The latest entry-level model may well have the same sensor as the previous year’s expensive pro model as the technology is transferred over.  The main difference is in the weight, substance, durability, and controls.

The new models are always being introduced, with that many previously great camera models will be reduced in price, discontinued and there are opportunities to purchase at reduced prices.  As always there will be a flurry of megapixel chasers that change their camera with every new model upgrade, making used cameras available.

Whatever the camera availability, my advice to those photographers asking the “upgrading” question is to consider what kind of photography they want to do. Talk to other photographers about the cameras that are interesting, go online and check out the many photography forums to find out what others with that same interest are using, and attend some classes.

So what are my thoughts on upgrading to a better camera? If it’s affordable, don’t hesitate, do it. Using a new camera is always fun, educational, and I believe the process of learning how to control and effectively use the unfamiliar technology a new camera offers is like a shot in the arm that gets the excitement going and ultimately helps one become a better photographer.