Panasonic is celebrating 25 years in the camera game under its illustrious Lumix brand name. Jaron Schneider and I were invited to attend this celebration in Osaka, Japan, and there was an incredible surprise in store for us: the Lumix L10.
Six in the morning on the Brooklyn Bridge, and New York City is something it rarely is. It is quiet. Not empty, but quiet. Dan Aragon is standing on the walkway watching the light come up across the East River. The bridge holds a few early walkers, runners, and cyclists. A ferry is just starting to move on the water below. He has not raised the camera yet. He is still enjoying the silence.
Amongst the plethora of different versions of the Leica M 35mm f/1.4 Summilux lenses, the “11873” model has garnered special attention. This double-aspherical design is famous for its lens character and classic glow at wider apertures. Of course, lens aficionados have driven the price of this original lens to astronomical values, which is where Light Lens Lab has stepped in.
One of my favorite zoom lenses of all time is the Sony 20-70mm f/4. Just the fact that a versatile range can be coupled with an ultra-wide-angle field-of-view brings a lot of convenience to the camera bag. I don’t mind the moderate f/4 aperture either, and the size and weight are kept to a minimum because of it. So when Canon released a 20-50mm f/4 L PZ lens alongside the R6 V, I was excited to try it out.
Andrew B. Barkhatov posted a photo:
Light splits the second,
two faces check themselves —
the world writes a formula.
The Bolshoi Theatre has stood for centuries, hosting operas about gods, tsars, and tragic lovers. Today, it hosts two girls checking if their hair looked good in the last photo. The fountain throws water into the air—a useless, beautiful gesture, not unlike the act of taking a selfie. They lean over the glowing rectangle, seeking validation from pixels, while the 1963 Zeiss Ikon watches them through a layer of expired Soviet silver. The film doesn't care about their angles. The film only cares about the light. "Well, what pictures have we got?" we ask. The pictures we got are of people asking what pictures they got. A perfect, closed loop of modern existence, frozen in the grain of a dying factory's last breath. The theatre waits. The water falls. The screen scrolls.
⚙️ Technical credits:
Location: Russia. Moscow. Theatre Square (Fountain at the Bolshoi Theatre)
Camera: Zeiss Ikon Colora (1963)
Lens: Novicar 50mm f/2.8-f/22
Focus: Zone focusing (approximately 1.5m—the distance of self-reflection)
Film: Svema A-2Sh (expired 2003)
Date: 13.05.2017
Scanner: Epson Stylus Photo RX500
Philosophy: "The pictures we got are of people asking what pictures they got"
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