I recently had the amazing opportunity to work with some very interesting historical media. A retired NASA engineer friend contacted me having found a box of photographic films in his desk drawer. Turns out the box contained two partial rolls and several cut slides of 70mm film from the 1971 Apollo 15 mission! What a find!
According to my engineer friend, these are not unpublished images. They are, however original films from the customized Hasselblad EDC (Electronic Data Cameras) medium format cameras used on the lunar surface, and include numerous images of the astronauts, the Lunar Module — the “Falcon” (LM-10), and Lunar Rover (LRV). There are also multiple images from orbit featuring the Command Module – Endeavor (CM-112). As a photographer, I found it interesting that there is one image showing the camera mounted on a bracket on the chest of the astronaut’s space suit. The cameras were essentially point and shoot – whichever direction the astronaut was pointed, it shot.
Apollo 15 Scans-JCHP-0006The actual composition of the film remains something of a mystery, but was reportedly a custom Ektachrome formulation that Kodak developed for the NASA missions. The 70mm sprocketed film was thinner than typical film – allowing for more frames per roll. (Imagine trying to change film in a space suit). The team took multiple cameras to the moon, but brought back only the expended film magazines. The actual camera bodies were left behind to conserve weight on the return voyage.
There were a few challenges in photographing the film. The film was in pretty good shape for having been stored in a box in a desk drawer for 40+ years. It has a heavy blue-ish color cast. I’m not certain if that’s a function of age, or something unique to the particular film stock. So it required some significant color correction in post.
Film Digitizing Setup-JCHP-6373I digitized the film with a Nikon D810 DSLR / 105 macro lens combo and an LED light panel. I considered scanning, but the scanner’s 60mm medium format negative carrier would not accommodate the slightly wider 70mm film. However, with a little trial and error, and the help of my son’s 3D printer, I was able to create a film holder to fit the NASA film that enabled me to capture the entire width / frame numbers, film stock info, etc. This worked great for most of the film, but was not usable with the cut frames since there was no glass to keep them flat. For those remaining images, I purchased a piece of anti-newton glass, and was able to sandwich them between the glass and the LED panel.
How these treasures ended up in my friend’s desk drawer at NASA may never be determined. But the fact that they’ve been to the moon and back makes this film just about the coolest thing I’ve ever had my hands on
It’s the second most asked question we get here on Shur’tugal (“When will we see Book 5?” comes in first). It isn’t hard to understand why: the 2006 Eragon movie was a less-than-stellar take on a book we are all passionate about. Mistakes were made, the movie didn’t quite resonate with audiences, and hopes of a film franchise faded.
We are petitioning Fox, the film rights holder, to reboot the Inheritance Cycle film franchise! Over 4,000 fans have added their signature to the petition - have you?
A while ago I bought a camera bellow which I always wanted to complete the last month. Last week I started to create and mount the missing parts and to build a film holder.
Made a first INSTAX shot today - F64 with ~2Sec exposure manually with the lens cap. This picture might look a little bit boring but I’m excited … it’s a good start! Will create a holder now that can expose 9 INSTAX wide simultaneously … because I can :)
Anita Ekberg (Malmö, Sweden, 29 September 1931 – Rocca di Papa, Italy, 11 January 2015)
Excerpt from Alessandra Stanley’s interview with Anita Ekberg for The New York Times, published June 13, 1999:
`(…) Miss Ekberg unfurled another motive [for taking the part of a spoiled, overweight opera singer who has a sexual affair with a dwarf in the film The Red Dwarf (1999) by Belgian director Yvan Le Moine.] “Lollobrigida wanted to do it,” she explained. “Well, it’s the kind of role that would suit her,” she said with a throaty laugh. “I can’t stand her.”
Miss Ekberg has lived in Italy for the better part of three decades, but her feud with the Italian sex symbol Gina Lollobrigida, is only a few years old. They met for the first time, she said, at a black-tie party given by a neighbor.
“I remember it so well. I had on an emerald green chiffon long evening gown,” she said. “In comes Lollobrigida, in August, with a copy Chanel suit. Black. Wool. And boots. In August. And lots of jewels. I always call her a Christmas tree.” When Miss Ekberg went up to introduce herself, she said, Ms. Lollobrigida cut her off and walked away. She did it again at another party.
Miss Ekberg got her revenge a month later, when both actresses were booked on the same flight to Latin America. In the V.I.P. lounge, Miss Ekberg said, she instructed her secretary to buy some sandwiches — and to offer to buy Miss Lollobrigida some as well. “She stood up and took my magazines without even asking, “May I?” “ Miss Ekberg recalled indignantly. “They were sealed; she just broke the seals and started to read just like that. And then, when the sandwiches came she didn’t even say to my secretary, ``Grazie,‘’ much less offer to pay for hers.”
On the flight, Miss Ekberg said that she carefully asked her fellow first-class passengers if they minded if she smoked, and recalled that they all eagerly told her to go ahead. As she lighted her cigarette, from three rows away, she said, Miss Lollobrigida bellowed: “Anita, will you put out that cigarette? It smells like hell!” Miss Ekberg smiled wickedly and switched to Italian to finish her tale.
“So I just looked at her and I said very loud, “Oh, Gina, why don’t you stop being such a pain.” The audience, she said, laughed appreciatively.
Miss Lollobrigida, who is currently campaigning for a seat in the European Parliament, said she had no interest in the opera star role. “I remember receiving an awful, vulgar script,” she said. “Obviously, I sent them to hell.” She had more innocuous memories of the airplane incident. “Anita was smoking in a no-smoking area and I cannot bear cigarette smoke,” she recalled. “I asked her to put it out but she continued. That was it.”
Miss Ekberg quit smoking more than a year ago, cold turkey, to prove a point to a friend who quit smoking and “never stopped whining about it.” She said she had not missed cigarettes at all. “I am strong and determined,” she explained.’
- detangling brush
- nyx butterflies 3pack
- nyx matte gloss 3pack
- 2 nyx two timer liquid and kohl pencil eye liners
- instax mini film snowglobey holder thing
- tarot cards
- stila eternal love set
- not your mothers sea salt spray
- stila liquid eyeliner
- stila kohl liner
- too faced natural matte palette
- cover fx contour kit
- kat von d high voltage eye primer
- beauty blender
- pure seduction perfume
- white ruffle shirt
- caged back joanne tank
How To Photograph Any Person With a View Camera in 31 Easy Steps.
By Greg Miller
1. Look at the world, connect with your deep inner purpose to be a photographer.
2. Go over to the most beautiful yet possibly the most frightening person or people in your view at this moment.
3. Smile. Tell them your name, the truth about who you are and why you want to photograph them, ”I am making a book about _____________”, “I am a student at ______________”, “I like your hat, scarf, pants, etc” (choose one).
4. They don’t get it (go back to #1.) They get it (go to #5)
5. Ask them if they are over the age of 18. ”No” (go to #7) ”Yes” (go to #6) It’s too good. (fuck it, go to #9)
6. Tell them that since you will be publishing their picture in your book, (see #3) you will need to get a model consent form afterward. Is that ok? “Yes” (go to #9) “No” (go to #1)
7. Explain to them that since they are under the age of 18 that you must get permission from their parents to take and publish the photograph. They are with someone or doing something they don’t want their parents to know about, (go to #1) Their parents are nearby but the parents don’t get it (go to #1) Their parents are nearby and are cool with it (go to #9). Their parents are not there but the kids are willing to call them on the cell. (go to #8) It’s too good. (fuck it, go to #9)
8. Call their parents on your, or their, cell and honestly explain in your most upbeat voice who you are and what you are doing. They get it and give you a verbal OK, get their email and phone # (go to #9). They don’t get it. (Go to #1)
9. Smile. Shake their hand and tell them again your name and ask them their name.
10. Make small talk while taking a meter reading.
11. Set the shutter speed on the lens (but not the aperture).
12. Pause here and gather yourself. Buy yourself time by telling them you need a minute to look at different angles to figure out where to put the camera. Tell them you are thinking.
13. Turn several film holders upright so they are ready and remove tape.
14. Open the lens and aperture all the way.
15. Focus the image of your subject on the back of the ground glass while under the dark cloth. Gently explain that you need them to begin being still. Or at least to stay on the plane of focus.
16. Looking at the person on the ground glass, begin to see the relationship of the subject to other objects in the frame. You can always improve on what you see. Consider distance. Will you photograph just their hand, from the waist up or a landscape where they are small? Consider the background. Does the background harmonize with the person or does it have nothing to do with them?
17. Raise or lower the camera. Looking through the ground glass, adjust the tripod to the height that harmonizes the subject with the background. No horizon lines through their heads, etc.
18. Move left or right. Looking through the ground glass, move the camera until you also find harmony, left and right, between the person and the background. No trees or flagpoles coming out of their head, etc.
19. Direct them minimally. Don’t over do it. Don’t be a dictator, but don’t be passive/aggressive either. Tell them anything that will improve the picture but also think of Cartier-Bresson photographing Matisse and consider saying nothing. If you do say something, be assertive, follow through and be supportive. Compliment them. They are helping you even if they are not completely cooperative. Smile.
20. It looks good on the ground glass, looks sharp, harmony exists between the background and subject. They move! (go to #17). They stay in the plane of focus. (go to #21)
21. [Quickly] close the shutter, set the aperture, slide the film holder into the camera in front of the ground glass. Make sure it seals light tight. Slide the dark slide all the way out.
22. Pause. Look. Wait for the moment. It’s not quite right. (go to #14) It’s right. (go to #23)
24. Slide the darkslide back in.
25. Cock the shutter.
26. You got the picture. (Go to #27) You didn’t get the picture and you have to refocus (go to #14). You didn’t get the picture but you don’t have to refocus (go to #21)
27. Take the holder out and put the tape back on.
28. Thank your subject and tell them they did a great job. They do something amazing now that the pressure is off! (go to #14) They are done and they are older than 18 (go to #29). They are done and they are younger than 18 (go to #30)
29. Have every adult that’s recognizable in the frame sign the model consent form. They sign it, no problem, and walk off into the sunset (go to #31). After reading it, they say, “What the Hell is this? I am not signing this!” Smile, patiently explain to them that this is so you can publish the photograph and while it does say that they will be irrevocably giving you the right to publish their image, forever and always, in any medium, now known and unknown and that extends to your children and heirs, explain that you are a professional and that you actually take great care in protecting their image from misuse. Adding that you thought that was a fantastic picture we just made together and you would simply hate to see it disappear forever since you would never publish or otherwise use an image without a consent form. They get it and sign (go to #31) They hand the unsigned consent form back to you and walk off into the sunset. (go to #1)
30. Give the teenager or child without the parent the model consent form in a self addressed stamped envelope, make eye contact and tell them to be sure to get their parents to sign it and mail it back, otherwise the picture will be destroyed forever. (go to #31).
31. Congratulate yourself briefly for making a photograph. (go to #1)