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The crew of Apollo 11: from left to right, Neil Armstrong, Michael Collins and Buzz Aldrin.

Michael Collins, an Apollo 11 astronaut for the National Aeronautics and Space Administration (NASA), passed away this past Wednesday at age 90 after a battle with cancer. Collins was affectionately referred to as 'the loneliest man on the planet' for being the command module pilot that flew a solo mission in space while his better-known colleagues, Buzz Aldrin and Neil Armstrong, set foot on the moon for the first time in history.

Portrait of Michael Collins in a spacesuit taken on April 16, 1969, three months before the launch of Apollo 11. Public Domain.

'NASA mourns the loss of this accomplished pilot and astronaut, a friend of all who seek to push the envelope of human potential. Whether his work was behind the scenes or on full view, his legacy will always be as one of the leaders who took America's first steps into the cosmos. And his spirit will go with us as we venture toward farther horizons,' said acting NASA Administrator Steve Jurczyk in a statement.

Dear Mike,
Wherever you have been or will be, you will always have the Fire to Carry us deftly to new heights and to the future. We will miss you. May you Rest In Peace. #Apollo11 pic.twitter.com/q4sJjFdvf8

— Dr. Buzz Aldrin (@TheRealBuzz) April 28, 2021

Collins was born on October 31, 1930, in Rome, Italy. His father, a U.S. army officer serving as military attache at the time of his birth, would inspire him to become a fighter pilot and test pilot with the Air Force. It was Jon Glenn, the first American to orbit the Earth, that would inform Collins' next career move. He joined NASA in 1963 and embarked on the Gemini 10 spaceflight in 1966, where he would break records with two spacewalks.

The mission that defined his career was Apollo 11, which made history on July 20, 1969, when Aldrin and Armstrong landed on the moon. One day later, they would take their first steps on the lunar surface, collecting matter to bring back to Earth, while Collins remained in orbit flying the Command Module Columbia. When a NASA press officer quipped to reporters 'not since Adam has any human known such solitude,' Collins defended himself.

“I’ve got the world in my window.”

Michael Collins snapped this photo of the lunar module returning to the command module after landing on the Moon. With the Earth in the background, all of humanity is in this photograph, save Collins himself. pic.twitter.com/5StJrvzB0T

— NASA Moon (@NASAMoon) April 28, 2021

'I would enjoy a perfectly enjoyable hot coffee, I had music if I wanted to,' he said at a 50th anniversary event in 2019. 'Good old Command Module Columbia had every facility that I needed, and it was plenty big and I really enjoyed my time by myself instead of being terribly lonely.' Naturally humble, Collins also downplayed his groundbreaking accomplishments. In a 2009 interview with NASA he referred to them as '90 per cent blind luck' and that astronauts should not be celebrated as heroes.

The Apollo 11 crew went on to receive the Presidential Medal of Freedom. Collins turned down an offer to command his own Moon mission, opting to become the Assistant Secretary of State for Public Affairs. He went on to accept the title of first director of the National Air and Space Museum in Washington and authored numerous books on space exploration including his autobiography 'Carrying the Fire.' He retired in Florida with his wife, Patricia, who passed away in 2014 and is survived by his three children.

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Iams wants to use the cameras that nearly everyone has in their pockets to help reunite lost dogs with their owners. The company has launched a new app, NOSEiD, that uses your smartphone's camera to scan your dog's nose. If your dog is lost, the scan of its nose acts like a fingerprint, allowing someone to track the lost dog back to you.

When a dog runs away or is lost, it can be a traumatic experience for humans and dogs alike. Of NOSEiD, Iams says, 'The app helps you capture your dog's unique nose print and guides you through what to do in case your buddy ever gets lost. It can even help people who have found your dog get in touch with you faster.'

As we saw earlier this month, cameras can help save lives and hopefully photography can help lost dogs find their way home. Iams states that nearly 10 million pets are lost every year in the United States and that one in every three pets will be lost at some time during their life. While microchips help, as humane societies and vets will always scan for a chip in a found animal, only 3-5% of dogs are chipped.

Unlike microchips – which are an excellent idea for your pets, by the way, should the unthinkable occur – NOSEiD isn't intrusive at all. You simply take a photo of your dog's nose, ideally in bright light, and have your dog face the camera head-on. The wrinkles of a dog's nose are distinct, and Iams believes that NOSEiD can scan your dog's nose with enough accuracy and fidelity that false positives are avoided. Iams writes, 'Your dog's nose print is completely unique, like human fingerprints. By scanning and saving their unique nose print, NOSEiD creates a form of ID for your dog that can help bring them home if they ever get lost.'

To use NOSEiD, you can scan your dog's nose to create their unique ID. You then provide additional information about you dog, including its name, typical photos, and a physical description. If your dog is ever lost, you can use the app to quickly generate a 'lost dog' poster for your canine companion. The NOSEiD community will then be on the lookout for your lost dog. If someone finds a lost dog, they can use the app on their own phone to scan the dog's nose and check it against the NOSEiD database. Click to enlarge

In addition to the scan of your dog's nose, owners are also asked to include traditional photos of their dogs and include a physical description of their pet. The additional information will help speed up the process of reuniting lost pets with their humans. The app also works in reverse if you find a lost dog. You can use the app to scan the dog's nose and check it against Iams's NOSEiD database.

'Pets are irreplaceable family members, and with the NOSEiD app, we're hoping to help keep more pets in their loving homes and out of shelters – taking another step toward our goal of ending pet homelessness,' Craig Neely, vice president of marketing at Mars Petcare, the parent company of Iams, said in a statement. Neely continues, 'The app is designed to be a community resource, so whether someone has a dog or not, they'll be able to join the NOSEiD community to help reunite lost dogs with their families in their own neighborhood.'

For NOSEiD to work best, it will require widespread adoption. As of now, the program is being tested in Nashville, TN, ahead of expansion to additional regions. The free app is available on the Apple App Store and Google Play. For more information, visit the dedicated NOSEiD website.

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The Camera & Imaging Products Association (CIPA) has released its latest data, detailing the volume and value of digital camera units produced and shipped around the world through March 2021.

Before diving into the numbers, it needs to be noted that starting with the data from March 2021, the year-over-year (YoY) numbers should be contextualized with the understanding that March 2020 was the first month where the global economy started feeling the impact of the COVID-19 pandemic.

Based on historical data, production and shipment numbers started stabilizing around September 2020, but from March 2020 through roughly August 2020, the market was down even more than would be expected due to market instability, quarantine orders and other restrictions in place due to the global pandemic. With that in mind, let’s take a look at what March 2021 had to offer.

This chart from CIPA shows total digital stills camera shipments in 2019 (purple, circles), 2020 (black, triangles) and 2021 (orange, squares). These numbers include compact cameras with built-in lenses, DSLR cameras and mirrorless cameras. Click to enlarge.

According to CIPA’s data, worldwide digital camera shipments were up 2.8% by volume and 25.6% by value for the same time period YoY (January through March). If you split up compact cameras compared to DSLR and mirrorless cameras, shipments of cameras with built-in lenses were down 16.8% by volume and 10.3% by value while cameras with interchangeable lenses were up 18% by volume and 48.1% by value for the same time period YoY.

This chart from CIPA shows total shipments for cameras with interchangeable lenses in 2019 (purple, circles), 2020 (black, triangles) and 2021 (orange, squares).

Looking specifically at the numbers for cameras with interchangeable lenses, DSLR shipments were up 5.8% by volume and down 6.7% by value while mirrorless camera shipments were up 29.9% by volume and 82.1% by value for the same time period YoY.

These numbers reflect the trend we’ve seen with the maturing mirrorless camera market; as mirrorless manufacturers continue to put out more expensive, professional-oriented models, the value of shipments continues to increase at an exponential rate to volume due to the higher price of the mirrorless cameras being sold. Considering both Canon and Nikon have flagship mirrorless cameras on the way, it’s likely this trends will only continue throughout 2021 and beyond.

CIPA’s complete March 2021 breakdown, which shows production and shipment data from January and February 2021 by camera type and region. Click to enlarge.

CIPA data shows only the number of units produced and shipped by the participating manufacturers, not the number of units sold. But it has historically been a solid indicator of the market health as a whole considering it’s getting data directly from essentially all of the major manufacturers.

Camera companies and their respective executives have been bullish on a stabilizing market in 2021. So far, that appears to be the case, but it remains to be seen what the rest of the year holds. You can view CIPA's March 2021 and historical data on the CIPA website.

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Introduction

Elsewhere in our Absolute beginner’s guide to film photography, we wrote about common types of film cameras and not-so-common types of film cameras. So which type is best for you? That depends on what you want to get out of film photography. In this article, we’ll attempt to match different types of film photographers with the best type of camera for their needs.

Photo: Dan Bracaglia

'I want the easiest way to start shooting film'

If your primary goal in film photography is to get that distinctive 'film look', a 35mm compact point-and-shoot or 'pocket' camera is your best bet. These cameras are super simple to use, as they were designed for the type of snap-shooting for which people use smartphones today. These film cameras will handle most tasks for you, including focusing, setting film speed, setting exposure, and (in most cases) loading, winding, and rewinding the film – you just point and shoot, hence the name.

Point-and-shoot film cameras are small and discreet, which makes them great for street photography

Point-and-shoot film cameras are small and discreet, which makes them great for street photography. The downside: Their mostly all-automatic operation limits your creative control. There are hundreds of these types of cameras available, and most (with some notable exceptions) are affordably priced. Stick with the major brands, and beware of cameras labeled 'focus-free' or 'fixed-focus' – their super-simplified mechanisms can compromise image quality.

Photo: Dan Bracaglia

'I want creative control, but I’m concerned about the learning curve'

Consider an auto-focus, auto-wind 35mm single-lens reflex camera (SLR) from the 1990-2005 era, such as a Canon Rebel 2000, Minolta Maxxum (Dynax) 400si, or Nikon N55/F55. These cameras have fully automatic exposure modes and will focus, set film speed, and wind the film for you, so the experience is very similar to using a DSLR: Just one button-press is required to take the photo.

Most of these cameras also have aperture- and shutter-priority semi-automatic modes and full manual exposure modes, so they’ll allow you to take more creative control when you’re ready

Most of these cameras also have aperture and shutter priority semi-automatic modes and full manual exposure modes, so they’ll allow you to take more creative control when you’re ready. They’re also among the most inexpensive used cameras on the market. These cameras typically use interchangeable lenses, affording you the opportunity to fit higher-quality glass, though the 'kit' lenses most of them come with are perfectly adequate. You might also consider a 'bridge' camera - an SLR with a permanently affixed zoom lens.

'I want the most hands-on film photography experience I can get, without breaking the bank'

If you really want to take control of the process, you’ll want a fully manual SLR, which offers the maximum level of creative control, often at a reasonable price. Everything is manual: loading the film, setting film speed, focusing, setting exposure, cocking the shutter, and winding (and rewinding) the film. Some have an automatic exposure mode (usually aperture priority) but will still let you set the exposure manually.

A fully manually SLR offers the maximum level of creative control, often at a reasonable price

Most camera manufacturers embraced automation in the 90s (because what today’s photographers consider an engaging experience was once seen as a pain in the neck), so we’re talking about film SLRs made from the 1960s to the early 1990s. Zoom lens quality still had a ways to go in this era, so you’re better off using prime (fixed focal length) lenses, which makes for a bit more of a challenge as you must zoom with your feet. These cameras vary in price (though bargains abound), and most are built to last.

Photo: Dan Bracaglia

'How about something in between the last two?'

Yep, we’ve got you covered. In the late 1970s and ‘80s, before compact point-and-shoot cameras ascended to popularity, camera manufacturers made semi-automatic SLRs aimed at less serious photographers. These are (generally) manual focus, manual-wind cameras, but they shoot exclusively in aperture priority automatic mode, where the photographer sets the lens aperture and the camera picks a corresponding shutter speed.

These cameras use the same lenses as more advanced SLRs so they can produce the same image quality while simplifying the photo-taking process

These cameras use the same lenses as more advanced SLRs so they can produce the same image quality while simplifying the photo-taking process. There are several models like this, including the Pentax ME/MG/MV, Nikon EM, Minolta XG-series, and Ricoh XR-6. You can usually identify these cameras by looking at their shutter-speed knobs; instead of a range of numbers, most have only an 'A' setting and perhaps one mechanical flash-sync speed (marked with a number or X). These cameras offer less flexibility than an SLR with both manual and auto exposure, but they deliver the full classic camera experience (and image quality) at a much lower cost.

Photo: Dan Bracaglia

'I want a camera that’s small and stealthy'

You should look for a compact rangefinder. These cameras have a similar form factor to compact point-and-shoot cameras, but they generally have manual focus, exposure and winding systems. That and their quiet leaf or cloth curtain shutters make them the quietest and least-obtrusive of cameras. (Nothing like having your P&S suddenly start rewinding film in what is supposed to be a quiet environment!)

Their near-silent leaf shutters make them the quietest and least-obtrusive of cameras

35mm rangefinders were popular before the rise of the SLR in the 1970s, and older, classic compact rangefinders can be fairly affordable. Newer rangefinders like the Leica M-Series are among the most expensive of used 35mm cameras, but they are a joy to shoot with.

Photo: say_cheddar

'I want the best possible image quality'

If a sharp image with minimal grain (or printing very large) is most important to you, then you should consider medium- or large-format cameras. Medium format (MF) cameras from Mamiya, Pentax, Bronica, Hasselblad, and Fuji strike a nice balance between quality and portability. They use 120 size roll film and shoot negatives between 6x4.5mm and 6x9mm, yielding 8 to 16 shots per roll.

MF cameras use 120 size roll film and shoot negatives between 6x4.5mm and 6x9mm, yielding 8 to 16 shots per roll.

Large format cameras use sheet film of 4”x5” or larger, allowing development to be customized for each shot. Most large-format cameras allow tilt and shift adjustments for perspective correction, but even portable 'field cameras' are very bulky and take time to set up for a single shot. Generally, the larger the film format you choose, the slower and more expensive your photography will become.

Photo: Classic-Photographic

'I’m not sure if film is for me, I just want to try a roll'

Borrowing a film camera is the best way to dabble in film, but another option is the disposable camera. These simple one-time-use cameras are basically fixed-focus point-and-shoots, which shoot at a pre-set exposure setting and depend on the latitude of the film and the printing/scanning process to get an acceptable-looking photo. Some even come with waterproof housings.

To develop your film, you send the entire camera to the lab, and it will not be returned

To develop your film, you send the entire camera to the lab, and it will not be returned. Disposable or single-use cameras can be had with a variety of color print and black-and-white film types. Remember, though, they don’t deliver the whole experience – while the pictures will have the unique look of film (albeit possibly at reduced quality), their lack of exposure and focusing control don’t really provide the full-on film photography experience.

About Film Fridays

Our 'Absolute beginner’s guide to film photography' is an educational series of articles focused on demystifying the ins and outs of analog photography. Geared toward those discovering (or re-discovering) film, the series will cover everything from gear, to technique and more. View all of the articles in our guide here.

Photo: Dan Bracaglia

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Credits: NASA, ESA, STScI

To celebrate the 31st birthday of the Hubble space telescope NASA has released a stunning picture a giant star ‘waging a tug-of-war between gravity and radiation to avoid self-destruction’. The star in question is AG Carinae, and it’s shown surrounded by a glowing pink cloud of dust and gas that measures five light-years across.

According to NASA the star was created from giant eruptions that occurred 10,000 years ago, and which blew out the star’s outer layers. This left a constant battle between the radiation pressure from the star pushing matter outwards, and gravity pushing it back again. When the outward pressure is more powerful than gravity the star expands, and creates colorful nebula as seen here.

AG Carinae is truly massive, and is thought to be 70 times bigger than our Sun and a million times brighter. The picture was captured by the Hubble Space Telescope using both visible and ultraviolet light, which it can do as it is beyond the Earth’s atmosphere.

To read more about AG Carinae and the Hubble Space Telescope see the NASA website.

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A recent story in Architectural Digest tells the story of how an artist used a little social engineering to capture photographs of some of New York City’s most exclusive and expensive pieces of real estate by claiming to be an incredibly wealthy European socialite.

According to AD’s reporting, Hungarian artist Andi Shmied took on the false identity of ‘Gabriella,’ a European socialite in search of a new apartment, to capture images for her limited-edition book Private Views: A High-Rise Panorama of Manhattan. The saga that resulted in ‘Gabriella’ gaining access to these apartments includes it all: a fake husband, a child that doesn’t exist, a personal chef and a personal assistant named ‘Coco.’

Along the way, ‘Gabriella’ was able to tour numerous luxurious properties, including a few along ‘Billionaires' Row,’ a series of opulent buildings along Central Park’s south side. Shmied, who studied architecture and urban design, claims she isn’t 'much of a photographer. AD says she used an ‘old-school’ Nikon F-601 to capture at least some of the photographs in the book, but no further information about the gear used was shared.

You can read AD’s story in its entirety using the link below:

This Artist Faked Being a Billionaire to Photograph New York City’s Best Views

Private Views: A High-Rise Panorama of Manhattan, of which only 1,000 copies were made, is available to purchase on Shmied’s website for €87 (~$105), which includes free global shipping.

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