One spring afternoon in 1983, I was walking around Glasgow with my camera. The city was changing, building up to rebranding itself in 1990 as European City of Culture. At that time, Glasgow had the same feeling as New York – there was always something going on in the streets. A lot of my shots come about by chance while I’m wandering about. You turn a corner and find something you didn’t expect. I don’t really plan anything when I photograph: things somehow fall into place.

That was the case with this photograph taken at Kelvingrove Park, in the west end. Most weekends then there were events, concerts and exhibitions at Kelvingrove Art Gallery, which sits in the park. The photograph reflects what Glasgow was at the time: a place on the up. I was enjoying the orderliness of the queue – and then this dog came haring past with its tongue hanging out, as if it wanted an ice-cream too. It was a nice composition, it just worked. Of course, shooting with film, you hope to hell you’ve got it, that you’ve got a straight horizon and no one in the queue is staring at you.

I was working for the Scottish tourist board at the time. I was there for 11 years, until 1984. It was a great springboard: I was given cameras and a pretty free hand. After I left, I had a lot of contacts and the work didn’t seem to stop. I did city guides and went all over the world. An editor once told me I’m a good travel photographer because I always get lost. The best pictures come up that way. I’d always meet interesting people. Once I ended up being driven around Manhattan by a stranger in a 1950s Chevrolet – just because I’d said: “Great car!” He said: “Hop in, I’ll show you around.” Things like that happen to me a lot.

I’m not into manipulation. You’ve got to work with what’s in front of you. The most I’ll do is, say, remove an ugly cigarette packet. I just like straight photographs. Composition is the most important thing. When you’re shooting from the hip, you’ve got to take everything in – shapes, forms, balance – and then you start noticing other things that create a little story. That’s the ideal photograph, but you’re lucky if you get four or five a year.

I’m a photographer by accident. I got a job on a local paper as a trainee commercial artist, but when that fell through they felt sorry for me and put me in the darkroom. I learned a lot, from the copies of Life magazine and Picture Post that were in the office. In the 1960s, I got a job making blow-up prints for film premieres at Leicester Square in London. I was doing 30ft prints of Dustin Hoffman and Jon Voight. They’re a blinking nightmare – you’ve got £50 worth of paper and you have to process it in a huge bath. I’ve spent so much time in darkrooms I don’t want to go back. What I love is the finished image: if there’s an easier way to get there, I’ll take it.

I’m archiving all my pictures now. I’m 76 and the drag at my age is not being able to take risks. I used to climb up buildings and go to ridiculous levels to get a picture. When I look back, I think: “Oh my god, did I really do that?” I once got into the sea at North Queensferry, on the Firth of Forth, in November – just to get the right angle for a picture. You can imagine how cold the water was in winter. I introduced wild swimming to photography – but I’m not going to carry on with it!

I’ve been a photographer for 60 years. The National Galleries of Scotland took six of my photographs recently. One was taken when I was 15. Of course, you gain knowledge and technique, but I still look for the same things. I suppose my work in tourism still affects my photography: I’m not happy showing a place not at its best. I don’t need the blue skies, the pretty clouds and smiley faces, but I do think photographers have got to shoot what they believe in. And I have to look on the bright side.

Douglas Corrance’s CV

Born: Falkirk 1947.
Trained: Self-taught.
Influences: “Henri Cartier-Bresson, Bert Hardy, André Kertész and Arnold Newman”
High point: “Publishing my first Edinburgh book in 1979”
Low point: ‘Getting mugged in Marrakesh in 1971 and losing allmy gear’
Top tip: “Always ask yourself why you want to be a photographer”

Kodak has announced a limited-edition release of the KODAK Super 8 film camera. They tout it as the most advanced camera in it’s (albeit narrow) category.

16:9 (widescreen) shooting and increased visual resolution. The Super 8 Camera extended gate optimizes more capture area of the film strip – allowing for an 11% larger image than traditional S8 cameras.

This 14:9 full frame gives your Super 8 film the flexibility to intercut with other modern media capture formats, seamlessly filling the frame of today’s TV and video screens.

The new Super 8 Camera comes equipped with a detachable wide-angle 6mm 1:1.2 C-mount lens, offering a range of creative choice for filmmakers of all levels. Use any other C-mount prime lens or adapters to mount the lens of your choice. Experiment with vintage lenses for a retro feel.

The MSRP is $5,495 US.

Each KODAK Super 8 cartridge is loaded with 50 feet of motion picture professional film – choose from 3 different KODAK VISION3 Color Negative Film stocks, or reversal stocks including TRI-X Black & White Reversal Film and EKTACHROME Color Reversal Film.

Read more and sign up to buy here by November 28th. Datasheet and Manual. Kodak Super 8 film.

Two days after the Kennedy assassination, Photographer Bob Jackson captured the killing of Lee Harvey Oswald.

MANITOU SPRINGS, Colo. — Most people of a certain age remember where they were when they found out President John F Kennedy had been assassinated. Bob Jackson of Manitou Springs certainly does.

Jackson was riding in the motorcade, a few cars behind the President’s car in Dallas. It was November 22nd, 1963, and he was a 29 year old photographer with the Dallas Times Herold.

He had just taken pictures of the President and First Lady greeting people at the airport, Love Field.

The motorcade was winding its way through downtown, and Jackson had just unloaded his camera to give the film to a reporter along route.

He had an empty camera when he heard three shots ring out. He looked up to where he thought the shots were coming from, the Dallas Book Depository Building.

He saw two people in a window on the 5th floor looking up to the 6th floor window above them.

“Then I of course saw the window ledge above them, and there was a rifle resting on the ledge and he drew it in,” Jackson said.

Bob Jackson never saw who drew the rifle in, but to this day he says there were only three shots, and they came from that rifle in that window.

Unfortunately, he doesn’t have pictures to prove it because his camera was empty. Bob Jackson knew he missed the chance to get pictures of one of the most famous moments in time. Little did he know, he would get another chance two days later.

Jackson was scheduled to be at Police Headquarters to take pictures of the suspect in the Kennedy assassination, Lee Harvey Oswald.

Oswald was going to be put in a car and transferred to the County Jail. There were many photographers there, including network photographers to capture the scene on live TV.

Jackson says he checked the wind lever on his camera a dozen times to make sure he was ready. When Oswald was led out by police, someone stepped out in front of him.

That person had a gun and fired it. Bob Jackson says the gun fired, and immediately he fired, pressing the shutter. In those days before digital photography, you didn’t know what you got until the film was developed.

Back at the newspaper he saw his picture and knew immediately he got it, he captured what had happened perfectly.

Jack Ruby, the shooter, holding up the gun. Oswald, impacted by the bullet, screaming in pain. And Dallas Police Detective Jim Leavelle, reacting to it all.

More Positively Colorado stories:

An iconic photo that would, a few months later, win the Pulitzer Prize.

Bob Jackson went on to have a long and successful career, including at the Denver Post and Colorado Springs Gazette. He took thousands of great pictures.

He started out photographing car races, and that’s how he honed his craft. He shot pictures of the Beatles performing, and emotional pictures of news events all over the world. But one picture he took stands out, and still has special meaning 60 years after it was taken.

Oswald and Ruby. For a news photographer, there may be no better feeling than knowing you captured a big moment in history.

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Two days after the Kennedy assassination, photographer Bob Jackson captured the killing of Lee Harvey Oswald.

MANITOU SPRINGS, Colo. — Most people of a certain age remember where they were when they found out President John F. Kennedy had been assassinated. Bob Jackson of Manitou Springs certainly does.

Jackson was riding in the motorcade, a few cars behind the President’s car in Dallas.

It was Nov. 22, 1963, and he was a 29 year old photographer with the “Dallas Times Herold.”

He had just taken pictures of the President and First Lady greeting people at the airport Love Field.

The motorcade was winding its way through downtown, and Jackson had just unloaded his camera to give the film to a reporter along route.

He had an empty camera when he heard three shots ring out. He looked up to where he thought the shots were coming from, the Dallas Book Depository Building.

He saw two people in a window on the 5th floor looking up to the 6th floor window above them.

“Then I of course saw the window ledge above them, and there was a rifle resting on the ledge and he drew it in,” Jackson said.

Jackson never saw who drew the rifle in, but to this day he says there were only three shots, and they came from that rifle in that window.

Unfortunately, he doesn’t have pictures to prove it because his camera was empty. Jackson knew he missed the chance to get pictures of one of the most famous moments in time. Little did he know, he would get another chance two days later.

Jackson was scheduled to be at Police Headquarters to take pictures of the suspect in the Kennedy assassination, Lee Harvey Oswald.

Oswald was going to be put in a car and transferred to the County Jail. There were many photographers there, including network photographers to capture the scene on live TV.

Jackson said he checked the wind lever on his camera a dozen times to make sure he was ready. When Oswald was led out by police, someone stepped out in front of him.

That person had a gun and fired it. Jackson said the gun fired, and immediately he fired, pressing the shutter. In those days before digital photography, you didn’t know what you got until the film was developed.

Back at the newspaper he saw his picture and knew immediately he got it, he captured what had happened perfectly.

Jack Ruby, the shooter, holding up the gun. Oswald, impacted by the bullet, screaming in pain. And Dallas Police Detective Jim Leavelle, reacting to it all.

An iconic photo that would, a few months later, win the Pulitzer Prize.

Bob Jackson went on to have a long and successful career, including at the “Denver Post” and “Colorado Springs Gazette.” He took thousands of great pictures.

He started out photographing car races, and that’s how he honed his craft. He shot pictures of the Beatles performing, and emotional pictures of news events all over the world.

But one picture he took stands out, and still has special meaning 60 years after it was taken: Oswald and Ruby.

For a news photographer, there may be no better feeling than knowing you captured a big moment in history.

More Positively Colorado stories:

SUGGESTED VIDEOS: Latest from 9NEWS

[embedded content]

9NEWS+ 

Watch more from 9NEWS on the free 9NEWS+ app for Roku and Fire TV.      

9NEWS+ has multiple live daily shows including 9NEWS Mornings, Next with Kyle Clark and 9NEWS+ Daily, an original streaming program. 9NEWS+ is where you can watch live breaking news, weather updates, and press conferences. You can also replay recent newscasts and find videos on demand of our top stories, local politics, investigations and Colorado specific features.      

To download 9NEWS+ on Roku search for KUSA.       

To download 9NEWS+ on Fire TV search for 9NEWS.     

RELATED: Watch 9NEWS for free on ROKU, Apple TV, Fire TV 

Matt Swinney, head of image sensing solutions, SES, and specialised business unit, Sony Europe, explains how documenting progress and precision with dental photography can benefit the practice and patients. 

Photography is becoming an increasingly important tool in the arsenal of dental healthcare professionals, given the extent of ways it can elevate their practice.

Photography, once confined to capturing personal memories, now provides numerous tangible benefits across a range of dental treatments.

Beyond the aesthetics, photography has become an indispensable tool for tracking progress, engaging patients, fostering professional growth, simplifying insurance processes, and strengthening marketing strategies.

If you aren’t yet making full use of photography, here are a few reasons why it will be beneficial for your practice and patients:

Monitoring progress and engaging patients

One of the primary benefits of dental photography is its ability to meticulously document treatments with unparalleled accuracy.

These visual records stand as a tangible timeline of the patient’s journey. More than a routine archive, sharing these images with patients sparks a fresh understanding of their dental health. This facilitates informed decisions about treatment avenues, cultivating a collaborative bond between practitioner and patient.

This heightened patient involvement not only instils confidence in expert guidance but also holds the potential to bolster treatment approvals and positive outcomes.

Illuminating professional development

Beyond patient interaction, dental photography presents a unique channel for practitioners to evaluate their professional development.

A well-organised visual archive of patients’ dental conditions offers an introspective window to scrutinise your progress as a dental healthcare practitioner and identify areas for improvement. This retrospective analysis, often underestimated, could potentially serve as a catalyst for transformative growth.

Streamlining insurance procedures

In an era where paperwork and documentation can be taxing, dental photography emerges as an effective solution. The authenticity of photographs adds a new layer of credibility to the claim process.

These captured images, serving as clear evidence of dental work carried out, speed up approval processes and payments. This not only saves precious time but also fosters trust between the dentist, patient, and insurance provider.

Mastering marketing and financial efficiency

In the contemporary digital landscape, visual content reigns supreme. Proficiency in dental photography empowers practitioners to craft compelling and authentic marketing material. No longer reliant on external photographers, dentists can capture the essence of their practice firsthand.

Beyond creative control, this expertise translates into considerable cost savings. Funds that once went towards professional photographers can now be channelled into equipment and skill development.

If you’re just beginning to explore the potential of dental photography in your practice, the choice of camera and accessories might seem overwhelming – here are a few tips on what to look for and the decisions you might need to make:

Efficient data management

The integration of digital photography demands a robust approach to data management. The sheer volume of images generated requires efficient storage solutions. Embracing digital cameras not only facilitates seamless image uploads but also streamlines the organisation of patient records. This strategic move translates into heightened efficiency and improved patient care.

DSLR vs mirrorless

In the quest for the ideal camera, the Digital Single Reflex Lens (DSLR) vs mirrorless debate often arises. While DSLRs have held sway for years, mirrorless cameras have emerged as the drivers of innovation.

Recent market shifts underscore that the most cutting-edge technological advancements are becoming exclusive to mirrorless cameras. Notably, some entry-level DSLR models are no longer in production, affecting future availability of spare parts and servicing.

The compactness, reliability, and innovative features of mirrorless cameras have propelled them to the forefront of dental photography. The advantages are numerous – from lightweight portability to enhanced viewfinder accuracy, mirrorless cameras are poised to shape the future of visual dental documentation.

Sensor selection: APS-C vs full frame

The heart of the camera lies in its sensor. APS-C and full-frame sensors offer distinct photographic experiences, each with their own merits. APS-C, known for its compactness, enhances depth of field – ideal for capturing intricate dental details.

On the other hand, full-frame sensors capture more light, resulting in finer, noise-free images. The choice between the two hinges on a practitioner’s specific needs and preferences.

The magic of macro lens

Macrophotography is a crucial component in capturing essential images during patient interactions. This specialised form of extreme close-up photography is indispensable for attaining the desired intricacy when photographing teeth.

A macro lens, with a reproduction ratio of at least 1:1, is the architect of these visually comprehensive images. With a focal length of 90mm, the lens strikes the perfect balance between focus and field of view, ensuring every shot is exceptionally detailed.

Optical illumination and colour

Proper illumination is essential in dental photography and is achieved through well-chosen camera flash gear that balances effectiveness and unobtrusiveness. The ring flash encircles the lens for uniform illumination, while the twin flash offers a distinct effect, especially for close-ups. LED flash, which is gaining popularity, reduces glare and reflections for improved image quality.

Achieving accurate colour reproduction is paramount in dental illustrations, where precise hues are essential.

Therefore, choosing a camera that guarantees the highest quality, true-colour images throughout the dental workflow – not one that produces reddish, greenish, or purplish tones – is an important factor in the decision-making process.

Dental photography serves several functions within day-to-day practice, including instilling patient confidence in treatment progress, supplying vital evidence for insurance reimbursement, visually chronicling dentists’ professional evolution, and serving as a promotional mechanism for attracting new clients.

Whether you’re curating a budget-friendly dental photography kit or venturing into a more sophisticated setup featuring a larger camera sensor, embracing dental photography offers a substantial pathway for advancing your professional journey.

Follow Dentistry.co.uk on Instagram to keep up with all the latest dental news and trends.

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During the latter half of the 1980s, the disposable camera went from a standing start to worldwide craze.

Fujifilm and Kodak had both investigated the concept, though seemed to be looking at it through different lenses. Fujifilm was first out of the blocks with the Quicksnap, which married a roll of the Japanese giant’s colour negative film with a simple shutter and aperture and a plastic lens. You shot the film to the end of the roll, then handed the entire thing in for processing. You got back your negatives and prints and no camera – it went to the great camera graveyard when the photo lab pulled it apart to get your film.

Kodak, who had already Fujifilm was developing a disposable camera before the Quicksnap appeared on the shelves, also unveiled a use-it-then-lose-it camera called the Fling in 1987.

Only one problem with the Fling; Kodak thought that 110 film – not the ubiquitous 35mm – was the perfect choice for a disposable. After only two years they ditched it and redesigned the Fling for 35mm film instead.

Disposable cameras sold first at a trickle, then a flood. Disposable cameras filled the same niche as mobile phones do today – the camera you take along when you don’t want to take your expensive “proper” camera. In the US, sales jumped from a little more than three million in 1988 to more than 20 million just two years later.

Fujifilm and Kodak were followed by other film manufacturers like Agfa and Konica, and all this first generation of disposables were broadly the same. A simple plastic body usually covered in a cardboard sleeve was discarded along with the camera’s simple mechanisms as soon as the film was removed. The concept of a camera that was completely disposable was something entirely new; previously, cameras had largely been considered expensive, prestige items.

“The original Quicksnaps and Flings were sonically welded together, which required them to be destroyed for the film to be extracted,” wrote Della Keyser in the blog Disposable America. “Camera companies could have recycled the destroyed plastic parts, but that would have meant additional costs. Consequently most single-use cameras ended their lives in landfills. As a result of these practices, by 1988 manufacturers were experiencing a backlash.”

The beginning of the disposable camera era came amid the start of consumer pushback against single-use items. At least one camera maker’s chief was among them.

In 1990, John Bourne was the president of Vivitar, a US photographic distributor which had started life in the 1930s as Ponder & Best and in the decades since had become one of the world’s biggest photographic brands – in some cases getting camera and lens manufacturers to make designs to their specification. After a turbulent 1980s, Vivitar has started to pivot from high end goods such as its well-regarded Series 1 range of lenses to cheaper goods such as point-and-shoot cameras.

Bourne wanted Vivitar to join the ranks of disposable camera manufacturers, but he didn’t want to contribute to the growing amount of waste produced by these use-once designs. He told Vivitar’s designer Steve Shull to come up with a “reusable disposable” which could be used again and again, but would still be easy to operate. Shull teamed up with Alan Stone Creative Services, and between them they came up with a camera that completely redefined what a disposable camera could (and should) be – the ECO35.

The ECO35 doesn’t look like rival disposable cameras, but like them it is ridiculously simple. It has only three moving parts – the shutter, the film advance knob and the rewind knob. The camera is smooth and curved and bulges out at one end: YouTuber David Mihaly (The Old Camera Guy) is completely correct when he says it feels like an old-school computer mouse. (Watch the video below.)

The ECO35 has a fixed focus 34mm lens with a fixed aperture of f/11; the shutter speed is also fixed and 1/125. Loaded with 200-ISO film, it would have been fine for outdoor photography on sunny days.

The ECO35 is completely black apart from a bright blur shutter button, sitting just in front of the oversized film advance knob. It looks more like a low-end compact than a shoot-once disposable, which it actually is. Virtually every other disposable was designed to only be opened when taken in for processing. The ECO35 has back door accessed by pressing a catch on the left side of the camera. You load the camera as you would any other simple compact.

The way Vivitar marketed the camera was almost unique. Vivitar sent film in bulk from Australia to China, where the cameras were made, and the film was loaded into each camera during assembly.  (Early on the ECO35 usually came with 200-ISO film before Vivitar started using 400-ISO film.)

Once the film was shot, the photographer had three choices:

• Take it to be processed and disposed of like a normal disposable camera
• Ask the film lab to load the camera with fresh film so it could be used again
• Use the camera again with film they had already purchased

Vivitar intended the ECO35 to sell for a similar price to that of most other disposables, but they were essentially offering a loaded simple compact which could be loaded again and again and again as long as the photographer had access to fresh film: and if anything happened to it – well, it was cheap, so you could buy another one.

The ECO35 was introduced in 1990 and made an immediate impact – it won the 1991 IDEA Gold (Industrial Design Excellence Award) by the Design Society of America. Tucker Viemeister said of the camera: “You can use it and throw it away – or you can keep it and save the environment.”

“As a reusable disposable camera, the ECO35 breaks the mould,” wrote Bloomberg’s Bruce Nussbaum after the cameras won the award, in an article titled “To toss or not to toss“.

The ECO35 was successful enough for Vivitar to introduce a follow up. Spurred, perhaps, by the arrival of higher-spec disposable cameras with a battery-operated flash, Vivitar released the ECO35H, which added a flash hot shoe on top which you could attach a small flash unit. Popular Photography called it a “polycarbonate Brownie” in a 1991 round-up of cheap compacts, but was impressed with the results. “We loaded up the economical ECO with [Ilford] XP2 and shot in conditions from cloudy to bright sunny,” the magazine wrote. “And dang if it didn’t work. Granted, the imaging isn’t quite the equal of a more sophisticated autofocus P/S, but we think you get quite a lot for the money.”

The concept the ECO35 ushered in did not survive the 1990s: both simple compact cameras and colour print film became more affordable. By the time the 2000s arrived, digital started to make headway. While disposable cameras survived the changeover, the casual compact mostly folded once digital compact cameras became cheap enough.

But the “reusable disposable” camera didn’t die for good. Even before the digital take-over, Lomography unveiled a camera in keeping with the ECO35’s cheap-but-not-disposable ethic. In 2005, Lomography launched the first of its Lomolitos cameras, a disposable-like simple compact with fixed focus, shutter speed and aperture and pre-loaded with a roll of 200-ISO film.

Though the Lomolitos was discontinued by 2010, Lomography revived the concept again in 2017. Its’ Simple Use compact cameras – like the ECO35 more than 25 years before – came loaded with various Lomography films (from CN400 to Lady Grey to Metropolis). It offered a similar shooting experience to Vivitar’s design – with one big difference.

The ECO35 has a standard film take-up spool built into the camera, and you wind and rewind as you would any other manual advance camera. The Lomography Simple Use, on the other hand, requires you to advance all of the film out of the cassette before you can start shooting it.

The ECO35 might not have lived out to the bold claims of it saving the world, but it was a far-sighted response to the growing waste mountain produced by photography.

I’m Kosmo Foto’s founder and editor.

I’m a New Zealander who has been living in London since the mid-1990s, shooting film seriously since the year 2000. Kosmo Foto was launched in 2012 and has since become a film brand, with the release of my first films Kosmo Foto Mono 35mm (2017) and Kosmo Foto Mono 120 (2019).

I’m doing everything I can to promote film photography in the 21st Century, and help it survive and thrive. If you want to write something for Kosmo Foto, please drop me a line at foto.dowling@gmail.com.

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Delhi-based photographer Sanjay Das’ 34 frames capture the life of rural Bengal and its rich cultural heritage in this ongoing show at Bikaner House.

Bengal’s rich traditions unfold like a captivating story as one views artist Sanjay Das’ photographs displayed at the ongoing exhibition, The Red Hibiscus Trail, presented by Gallery Ragini.

“The present series shows my travels from over a decade, which have led me to learn about the rural cultural heritage of Bengal,” says Das, who has documented terracotta temples, tribes, architectural heritage, rituals, and folk arts of the region. “I specifically wanted to throw light on the rural side of Bengal because when someone talks about this place, they usually limit themselves to Kolkata. But that’s not all that this part of our country is all about,” he adds.

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The Delhi-based lensman has, in fact, always been fascinated by the unexplored cultural aspects of Bengal. “I used to hear stories from my family about the place, but it wasn’t until I turned 42 that I first visited Bengal. I realised that a few days weren’t enough and thus went back later to capture the rural perspective of the state with a gameplay of lights from Sandakphu (Nepal) to the Sunderbans,” he recalls.

Ina Puri, curator of the exhibition, shares: “Das not only depicts the Victoria Memorial but also the craftsmanship, cultures and spiritual motivation of the people of Bengal. This is why we gave this name to the show, since if there’s a trail that depicts Bengal, then it is the jaba phool (red hibiscus).”

Catch It Live

What: The Red Hibiscus Trail

Where: Living Traditions Centre, Bikaner House, Pandara Road

On till: November 25

Timing: 11am to 7pm

Nearest Metro Station: Khan Market (Violet Line)

For more such stories follow @htcity.delhijunction

• Topics
• West Bengal
• Bengal
• Rural Development
• Art Exhibition
• Photographer
• Delhi