Super 8

The history of motion pictures dates back to the second part of the 19th century with photographers like Étienne-Jules Marey and Eadweard Muybridge, who, among others, were the first to take several images per second in one effort—all for scientific purposes back then—to study the locomotion of birds, animals, and humans. For example, Muybridge was the first to take a series of photographs of a galloping horse in order to prove that in one single instant of time all four horse legs are not touching the ground. More or less at the same time on another continent, Marey created a shotgun-shaped camera capable with one trigger pull of capturing 12 images in a row within one single second and storing them all on the single 90 mm film. He used his gun to study various motions of animals, fish, and insects within his so-called 'animated zoo', including dropping cats from different heights and filming them always landing on their feet.

ELMO Super 106, 8mm movie camera

It was not long after initial chronophotography efforts and enthusiasm in the 19th century that the 'evolution' of motion pictures diverted heavily into entertainment and cinematography. The history of films and fun started almost with the start of the 20th century, but in the spirit of today's title, 'domesticating' films within ordinary people and human homes waited another 65 years for the invention of Super 8, or, to be precise, the improvement of Kodak's standard 8mm film from 1932 into a more efficient surface with a bigger width for the frame itself and significantly smaller perforation on the film's right edge. After they introduced it at the 1964-65 World's Fair, Super 8 instantly became the very first home video format with light cameras capable of filming 18 frames per second and more than 3 minutes of the movie per small film cartridge.

To say that my father was a film enthusiast in the second part of the sixties and the entire seventies would be an understatement. It was natural for him to go the step further and, in addition to the several analog SLR cameras and darkroom equipment for developing photos, to invest in home movies. Spending time in the darkroom and hanging photos on the wire were some of the most thrilling experiences of my childhood, but when Super 8 came, another world opened. I was too young to operate the camera, but on the occasion or two I remember, I did hold it and press the red button, especially during our vacations in Greece. Well, aside from those rare moments, most of the time my job, with being a kid and all, was to be in front of the camera and not behind it.

Tondo Super 8 Projector and LG Nexus 5 in action

But to cut the story short, this month I did something I was delaying for a long time. During the last two weeks, every night I was descending into my own customized darkroom equipped with a tiny Super 8 projector and digitalizing our family films. Twenty of those survived over time, and with a speed of two per day, I projected them on the wall and filmed them all with my smartphone. It was far from being an ideal setting, but this was the best I could do. I tried different approaches, filming from different distances, using different settings, and using my DSLR Nikon in the beginning. I even tried to project the film directly into the DSLR, but all my efforts failed due to not having proper lenses and objectives, and in the end, the smartphone was the chosen solution, and it did a better job in the dark than the Nikon.

With more expensive equipment, I am sure the results would be much better, and probably the weakest link was the cute and old Italian Tondo projector, which was my father's portable cinematic projector. I did try with a bigger 'player' first, but despite all my efforts, I couldn't manage to repair the old and superb Crown Optical Co. Ltd. Auto-P, a silent Standard and Super 8 film projector, our primary projector capable of displaying big and crisp screens on the large walls and with much better quality. To be honest, it's more than half a century old and built with nowadays rare parts, especially the missing lamp that is hard to find these days, but I didn't give up, and perhaps in the future, if I stumble on some solution (read it: an eBay sort of solution), I will repeat the effort, at least for those videos filmed indoors.

Nevertheless, all twenty rolls now come with twenty MP4s, and for this occasion I decided to create two movie collages with six movies each. They are all filmed in the late sixties, during the seventies, and in the early eighties with an ELMO Super 106 camera from the first image. The first one, embedded above, contains six films from our early vacations in Greece, and in chronological order, they are filmed in the Acropolis of Athens, Zeitenlik, the World War I memorial park in Thessaloniki, vacation resorts in Kamena Vourla, Asprovalta, Katerini Paralia, and two vacations in the vicinity of the port city of Volos.

The second collage is from our home and village in Niš and Guševac in Serbia. Mostly it focuses on my sister's and my babyhood and early childhood, birthday parties, family gatherings, and excursions. Also our old house that is now gone and the old shape of our country village front yard. This video also contains one of the rare black-and-white films from our collection that probably originated from different cameras and settings.

This entire effort triggered lots of memories and emotions from almost forty years ago, and seeing people live, especially those that are not alive today, is something extraordinary that regular photography cannot induce. Perhaps we today, with all of our pocket gadgets, are taking video clips and home photography for granted, but before, in the Super 8 era, this was a completely different experience. What we today do with just two taps on the screen, before you had to do in a more complex manner, including purchasing film cartridges, carefully planning (directing) filming sequences for a 3-minute film, sending it to development, organizing cinematic sessions...

One thing is for sure: Super 8 was the origin of what we have now in our homes. It was eventually replaced with VHS tapes in the 80s, but at the dawn of the 21st century, the analog period came to an end, and old-fashioned home gadgets were replaced with home digital camcorders first and, in the very last decade, with smartphones. To tell you the truth, it is nice to have a camera in your back pocket, it is, but somehow, with me, as I witnessed the origin of the entire process in my early childhood, the nostalgia for the analog days gave me another layer of the entire experience. Something special and extraordinary for sure.

'Super 8,' a sci-fi movie by J.J. Abrams

Perhaps for the best conclusion for this post, it would not be fair not to mention one of J.J. Abrams' greatest movies from 2011. Simply named 'Super 8', it tells a main sci-fi story about an alien encounter, but everything is perfectly wrapped within a background story of school kids trying to film a short movie for a Super 8 festival. It was really a great movie, and if you liked E.T. before, this is definitely a decent sequel and one of my favorites.

Refs:
http://www.kodak.com/id/en/consumer/products/super8/default.htm
https://en.wikipedia.org/wiki/List_of_film_formats
http://www.retrothing.com/2009/09/tondo-super-8-projector
http://www.hollywoodreporter.com/news/super-8-jj-abrams-says-194908

History of (d)SLR

The year was 1975 when I was browsing a small dusty workshop located next to the garage in our backyard. It was a perfect combination; I was about to turn 7 years old, eager to explore the darkest corner of my childhood realm, and the dark workshop was the most mysterious chamber in our entire family estate, no bigger than four cubic meters, occupied by a heavy and old greenish oak cabinet with a couple of drawers and compartments filled with tons of different tools, mechanical devices, and various interesting stuff whose origin and purpose I didn't know. It was, more or less, the year when I started to break things in order to find out what was inside or to find out how something works, foolishly believing that I would be perfectly able to put things back together.

Well, from this point of view in time, I can't remember if there was at least one mechanical device I "inspected" in such a manner that I successfully restored after unscrewing all the bolts and junctures or by simply breaking the metal hood. One thing is for sure, though. What I found that summer morning in the workshop I definitely never managed to restore. I simply succeeded in dismantling the old thing beyond any possibility for repair. But the knowledge I gained from what I found inside was priceless. It was something I had never seen before. When I broke the hard metal hood of an old binocular I found hidden in one old bag stored in the old oak, at first glance I thought I had found a treasure. Two shiny, perfectly aligned, and beautifully shaped objects smiled at me from the inside of the optical instrument. I was too young to understand what their purpose was, but in the following days I learned everything about it. That very day I discovered a prism. Two of them.

Needless to say, I instantly became attached to my newest discovery to the point that I kept them with me all the time. I was carrying them to the school and bragging about their almost magical abilities of bending light in different directions. Well, I wasn't any different from any other kid at that age. Only in this case with a little twist. Guess what the twist is? I still have one of them (above photo).

Leica IIIa, rangefinder camera, 1935-38 (responsible for the kiss photo**)

After almost 40 years, one prism survived and is more or less in the expected shape after four decades, still playing with photons the same as years before. But this is not the end of the story about this particular prism. The history of the little thing goes even more into the past. Actually this binocular belonged to my grandfather, who brought it directly from World War II. Some 30 years before I found it hidden in an old cabinet, my grandfather was experiencing the final year of his captivity in one of those German camps for military personnel imprisoned back in the year of 1941. After German capitulation, he was traveling half of Europe on foot, trying to find his way home, carrying these binoculars with him. Sometimes, I wonder what exactly little prism saw in these turbulent years, changing who knows how many owners during the war, and how many untold stories are lost forever and hidden in little crystals now perhaps more than 80 years old.

But to get back to the title story, basically the technology behind the acronym is connected to the camera's solution of how the photographer's eye is monitoring the shooting object. In the history of photo cameras, way back in the 19th century, the first professional cameras were designed with two objective lenses, perfectly aligned and with the same focal length, one for taking the light to the photographic film and the other toward the viewfinder. The single-lens system was a natural step forward, where a mirror-prism system mounted between the lens and film forced light to make a couple of sharp turns and to end directly at the viewfinder. The result is obvious: the framed image shown in front of your eye is the one forming the final picture after the mirror is lifted up and the photographic film is lit during the desired exposure time. What is also obvious is that the more quality the objective lens, mirror, pentaprism, and eyepiece are manufactured with, the better the image you see in the viewfinder before the final moment of triggering the shutter mechanism. The other non-optical part of analog-era SLR photo cameras directly responsible for the quality of the final product is, of course, the sensitivity of photographic film as well as the quality of embedded microscopically small light-sensitive silver-based crystals responsible for the contrast and resolution of the film. Back then, in the analog era, the photographing process didn't end by clicking the button. The film needed to be chemically developed, and with another optical/chemical process of illumination, the negative taken images are finally transferred to the photo paper.

If you were a photo enthusiast back in the seventies and eighties of the previous century like my father was, you might imagine that having a proper camera along with a photo laboratory with a darkroom was not a very cheap hobby. But thousands of images were worth all the effort. My favorite memories from those days were all connected to spending hours in a dark photo room with a red light producing pictures on paper. The moment of the image appearing on the surface of photo paper submerged in a dilute solution, followed by washing the photograph with fixer liquid and water, was my favorite part. I was typically in charge of these final steps in the process along with hanging wet photos for final drying. In this part of Europe in those times, the best amateurish and semi-professional cameras and all the equipment needed for a photo laboratory for hobbyists, with all the chemicals and supporting devices, came from East Germany and Russia. My father owned a couple of those-day cameras, and the one I remember the most was the Zenit E/EM (pictured to the left), manufactured a couple of years before the Olympics in Moscow in 1980. Zenit was made by KMZ (Красногорский завод), a leading Russian enterprise in the area of optical and electro-optical engineering, and you would be amazed how nice photos this little fellow made 25-30 years ago.

In conclusion, after a little history and technicalities, in the final chapter of this blog post, let's talk a little about digital SRLs. Basically, optical systems used in old cameras are the same. Two things changed, though. The quality of manufacturing of all optical parts in nowadays photo cameras is far more advanced than before, and all aspects of the final image are increased to the edge. There is a software term in the early digital era called WYSIWYG, meaning "What You See Is What You Get", which initially referred to printing documents looking the same as seen on the display of your computer. I guess the photo industry today reached the same goal, and with not even too expensive lenses and moderate DSLR cameras, final photos reached the quality of the image appearing in viewfinders or the one seen with your naked eye. The second major change is in the simple fact that all the chemical industry and paper photos are replaced by pure digital systems. Film is removed by a light sensor in the form of an electronic chip filled with a matrix of millions of tiny analog-to-digital converter dots capable of instantly saving an image into a fast memory card. Perhaps the third change is the fact that each DSLR device today is also a specialized computer, and compared to old systems, they are now able to perform various post-processing procedures to assist you with intelligent zooming, face recognition, adapting to shooting conditions, filming entire video clips, and maintaining a detailed database of taken images.

Nikon D5200 dSLR and Zenit EM SLR*

Considering all the features of one DSLR, I can surely say that this one device replaces my father's entire environment, from the camera through the darkroom for developing photographs to the bulk photo albums where final photos are stored. And all that with a smaller price, and what's more important, with far more space for creativity and for taking photos in a professional manner. To me, today's worldwide market is taken by two big players, Canon and Nikon, Japanese multinational corporations, both specialized in the manufacture of imaging and optical products, especially in the market of digital SLR cameras. It wasn't easy to choose one of their models, and I took several days of browsing stores and reading about all the specifications, but I eventually chose the Nikon D5200 that fits all the requests and budget I had in my mind.

At the very end let's speculate a little about how the future of photo cameras might look. Will it be further development and improvement in optical and digital systems or with the upcoming ultimate speed of future computer circuits or with the introduced quantum computers that the digital system will "evolve back" to the analog world? It remains to be seen. One thing is for sure though: miniaturization of optical systems is still not possible by the simple fact that the more photons you get in the sensor, the better the image is saved, and in this case, size really matters.

Ref:
http://www.luminous-landscape.com/tutorials/understanding-series/viewfinders.shtml

*
http://www.theothermartintaylor.com/moveabletype/archives/cameras/000005.html
http://www.nikonusa.com/en/nikon-products/product/dslr-cameras/d5200.html

**
http://www.dailymail.co.uk/news/article-2313418/Times-Square-kiss