Monday, October 22, 2007
Tuesday, October 2, 2007
BUNCH OF SUPER 8 LINKS!
SOME MANUALS: http://www.mondofoto.com/manuals/
A selection of Super 8 manuals uploaded for your convenience!
QUICK REFERENCE: http://www.kolumbus.fi/puistot/S8Manual.htm
When you find an old super 8 camera, it often doesn't have an instruction manual anymore. If you are not experienced with film cameras, it may be difficult to figure out how to use a certain camera. Here is a guide that tries to explain how these little babies usually work. It will help you to find the basic functions and tell you what they are there for.
SUPER8CAMERA.COM
http://www.super8camera.com/
Prrrrrrrrrr....Nothing beats the sound of a movie projector in your living room. Curtains down, screen up and there you go! Nowadays, video has taken over, but there are still many enthusiasts who use this nostalgic format for either projecting or transferring it to video for editing feature films. Why? Because of the 'look and feel' of the grain and color of authentic film. And most importantly...
It's fun! Here you can find a lot of information about super8 8mm. and a little about 16mm. moviemaking. You can find info about camera's (Nizo, Canon 1014 814, Beaulieu, Elmo, Chinon, Bauer, Bell & Howell, etc.), books, new filmstock, auctions, etc.
KODAK SUPER FILM STOCK AND ORDERING INFORMATION
http://www.kodak.com/US/en/motion/s8mm/product.jhtml?id=0.1.4.14.4&lc=en/
No matter what your film needs are Kodak has a Super 8 mm option for you. New KODAK EKTACHROME 64T film expands the current Super 8 mm portfolio that includes two black and white reversal films and two KODAK VISION2 motion picture films. For easy ordering of Super 8 mm products worldwide contact your Kodak Representative. In the U. S. & Canada call 1-800-621-FILM(3456)
SUPER 8 TODAY MAGAZINE
http://www.super8today.com/
IN RANDALL LIBRARY! Super 8 Today is a professional bi-monthly print publication, an all-new magazine and the first of its kind coming from the U.S. in over 20 years. The magazine is devoted to all aspects of Super-8 filmmaking, be it from aspiring amateurs to today's professionals.
Articles feature current news, interviews with pros, beginner's tips, marketing information, classified ads, and more. If you are a writer, please click on the writers link for information on becoming a paid freelance contributor.
Monday, September 24, 2007
Wednesday, September 12, 2007
Excerpts from Susan Sontag's "On Photography"
In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing.
To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store.
To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power.
Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry.
In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects.
To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store.
To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power.
Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry.
In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects.
Saturday, September 8, 2007
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