Photographic film – W Mappy http://w-mappy.com/ Tue, 09 Nov 2021 21:50:00 +0000 en-US hourly 1 https://wordpress.org/?v=5.8.1 https://w-mappy.com/wp-content/uploads/2021/11/cropped-icon-32x32.png Photographic film – W Mappy http://w-mappy.com/ 32 32 Pet Medical Film Printers Market by Major Players (Intrahealth, KNDMED, KONICA MINOLIA, FUJIFILM); Based on the global spread of COVID-19 in 2020 https://w-mappy.com/pet-medical-film-printers-market-by-major-players-intrahealth-kndmed-konica-minolia-fujifilm-based-on-the-global-spread-of-covid-19-in-2020/ https://w-mappy.com/pet-medical-film-printers-market-by-major-players-intrahealth-kndmed-konica-minolia-fujifilm-based-on-the-global-spread-of-covid-19-in-2020/#respond Sat, 06 Nov 2021 19:37:09 +0000 https://w-mappy.com/pet-medical-film-printers-market-by-major-players-intrahealth-kndmed-konica-minolia-fujifilm-based-on-the-global-spread-of-covid-19-in-2020/

The global pet medical film printer market is expected to grow at a rapid rate during the forecast period

The Global Pet Medical Film Printers Market report focuses on the crucial aspects of the market to make this report informed for the clients or fellow readers. The Pet Medical Film Printer market report provides the latest market developments, innovative product launches, restraints and opportunities, as well as market statistics. In addition to this, the market report also covers historical and future market trends and valuation to make the client-centric report more understandable for the client.

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The Pet Medical Film Printer Market 2021 Offers:

– Regulatory perspectives, best practices and future considerations for manufacturers and industry players seeking to meet consumer demand

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– Over 10 Profiles of the Leading Producing States of the Pet Medical Film Printers Market, with highlights of market conditions and retail trends

Most Important Types of Pet Medical Film Printer Products Covered in This Report are:

Photographic film, CT film, laser film, breast film, dry film, others

The most used Applications of the Medical Pet Film Printers Market covered in this report are:

Hospitals, Clinics

In addition, the report also provides policy analysis data which includes information on government rules and regulations and national development agencies or organizations with tax study. The main objective of this point is to understand the potential of Pet Medical Film Printer Market in the future and plan strategies and investments accordingly. The following report interprets the overall marketing plan for growing the global Pet Medical Film Printers market. This report provides clients with unique opportunities and the best future reach for the client company or any start-up.

The research study reports revenues, retail and wholesale, royalties, profits, incentives and other factors of operational players KNDMED, McLantis Group, KONICA MINOLIA, FUJIFILM, HU.Q, Huqiu Imaging Technologies (Suzhou) Co. Ltd, Carestream Health Inc., Intrahealth, Medical Film Printers. The business strategies and marketing plans offered in the report help to maximize growth and substantial revenue. Further, the report covers product sales, offering, innovative new launches, and various manufacturing processes adopted by the Pet Medical Film Printer market competitors.

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Global Pet Medical Film Printers market aims to enumerate market size and trends, which are accompanied and expressed in plain terms with qualitative or quantitative data in tabular, graph, bar chart and graph form. Camembert. Geographic analysis United States, Canada and Mexico in North America, Peru, Brazil, Argentina and rest of South America as part of South America, Germany, Italy, United Kingdom, France, Spain , Netherlands, Belgium, Switzerland, Turkey, Russia, Hungary, Lithuania, Austria, Ireland, Norway, Poland, rest of Europe in Europe, Japan, China, India, South Korea, Australia, Singapore, Malaysia, Thailand , Indonesia, Philippines, Vietnam, Rest of Asia-Pacific (APAC) Asia-Pacific (APAC), South Africa, Saudi Arabia, United Arab Emirates, Kuwait, Israel, Egypt, Rest of Middle East and ‘Africa (MEA) as part of the Middle East and Africa (MEA) leading global pet medical film printer market helps easily understand the revenue stream across each region. The report also helps in analyzing the market profit, regional market attractiveness, product demand, and market expansion over the forecast period.

Table of Contents of Pet Medical Film Printers Market

> Overview of research objectives and hypotheses
> Analysis of market dynamics, regulations and trends
> Market segmentation of medical pet film printers
> Manufacturer profiles / Analysis
> Market performance for manufacturers
> Market performance of regions for manufacturers
> Global Impact of COVID-19 on the Performance of the Medical Pet Film Printers (Point of Sale) Market
> Development trend for the regions 9. Upstream source, technology and cost
> Channel analysis
> Consumer analysis
> Pet Medical Film Printers Market Forecast 2021-2027
> Conclusion

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The Taking Drive My Car All These Sons Denver Film Festival 2021 https://w-mappy.com/the-taking-drive-my-car-all-these-sons-denver-film-festival-2021/ https://w-mappy.com/the-taking-drive-my-car-all-these-sons-denver-film-festival-2021/#respond Fri, 05 Nov 2021 12:00:00 +0000 https://w-mappy.com/the-taking-drive-my-car-all-these-sons-denver-film-festival-2021/ Denver Film Festival Artistic Director Matt Campbell is once again offering his must-have picks for each day of the event, which runs through November 14. Read on for his take on the Friday November 5th selections (The catch), Saturday November 6 (Drive my car) and Sunday November 7 (All these threads).

The catch
Directed by Alexandre O. Philippe
6:45 p.m. Friday 5 November
AMC House 2
4:15 p.m. Saturday 6 November
AMC House 2

Among the specialties of director Alexandre O. Philippe are “fascinating documentaries on cinema”, notes Matt Campbell, “and The catch is no exception. ”

The film’s focus “is Monument Valley, on the border of Utah and Arizona, and how it is imbued with visual imagery from popular culture and the Wild West because John Ford has shot so many of his films. over there, “he notes, including such landmarks. like the years 1946 My dear Clementine and 1956 Researchers. “It looks like this vast space, but it is actually quite a small area, even though it represents the signifying trope of American exceptionalism and manifest destiny – whites conquering the West and taking land from the indigenous peoples. living there.”

The title is a reference to a scene from another film that highlighted Monument Valley – 1994 Forrest Gump, “when he runs through the desert and he stops,” Campbell remembers. “It’s now a tourist spot, where people go to take pictures, so they kind of reinforce the idea of ​​this space as being for the white, conquering civilization and not for the communities that have always been there and live there. currently and often in difficulty There are many elements in the film, many philosophical and psychological foundations that Alexandre integrates into his thesis and his dissection of cinema.
Drive my car
Directed by Ryūsuke Hamaguchi
1:45 p.m. Saturday 6 November
AMC House 9
2:45 p.m. Sunday November 14
AMC House 9

Drive my car “premiered in competition at Cannes earlier this year,” said Campbell. “This is a director whose wife dies very early in the film. After that, he accepts a concert to stage a play at this theater festival in north Tokyo – and he decides to cast it. ex-lover of his late wife, a young man with whom she was having an affair. ”

This is not the only delicate dynamic in the film. According to Campbell, “The director wants to be able to drive his car to and from the rehearsal at his hotel, which is about an hour outside of town. But festival organizers don’t want him to drive for insurance reasons. , so they hire a young driver to drive it back and forth. The two spend a lot of time in the car, talking about life – and they start to have a relationship. ”

Campbell acknowledges that Drive my car is “long enough – about three hours – and methodically paced. But for me, the three hours have slipped right by. It’s about the lies we tell ourselves to rationalize what we do for a living.”
All these threads
Directed by Bing Liu and Joshua Altman
6:45 p.m. Saturday 6 November
Tom Fries Theater (Sie FilmCenter)
4:45 p.m. Sunday 7 November
Tom Fries Theater (Sie FilmCenter)

Directors Bing Liu and Joshua Altman caused a stir with audiences and critics in 2018 Undermine the ditch, which explored three characters from Illinois united by the love of skateboarding. Their latest project, according to Campbell, “is a very powerful look at programs for young African American men on the south and west sides of Chicago, where former gang members are trying to get these young people to choose a different path and to move on. move away from the violence that has ravaged their communities. ”

Liu and Altman “are following some of the younger ones and the hardships they are going through,” he continues. “It’s a problem we see in the news, but it’s usually reported as how many people were killed in Chicago over the weekend. But they really put humanity behind the headlines and tell the stories of people who live this life day to day. ”

Despite the difficult subject, Campbell points out that All these threads is “super powerful, and the general themes are the positive aspects of the change these former gang members are trying to make.” Even if this takes place in Chicago, the ideas, lessons and struggles can be applied to many urban areas across America dealing with this problem. “

Click to ticket information and more details on the 44th Denver Film Festival, including how to access certain selections online.

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Chloe Zhao’s MCU movie is colossal, cosmic, and refreshing https://w-mappy.com/chloe-zhaos-mcu-movie-is-colossal-cosmic-and-refreshing/ https://w-mappy.com/chloe-zhaos-mcu-movie-is-colossal-cosmic-and-refreshing/#respond Thu, 04 Nov 2021 22:30:00 +0000 https://w-mappy.com/chloe-zhaos-mcu-movie-is-colossal-cosmic-and-refreshing/

This review of “Eternals” was first published on October 4th.

In a Marvel story, time is fluid and the story crumbles, except when you’re sitting through one of their most naive and chaotic perils, in which case the saved world can’t come soon enough. Hiring Chloe Zhao to direct “Eternals”, however, sparked an unusual curiosity for a billion dollar merchandise zealously protected: the contemplative, small-caliber humanity that Zhao brought to “The Rider” and his ” Would Nomadland, “Oscar winner, survive the full-scale Marvel Cinematic Universe playbook?

The answer is a qualified yes, in that there is no doubt that “Eternals” – adapted from creator Jack Kirby’s story about the space immortals called to protect humans from Earth throughout. his story – is both a Marvel superhero epic, as massively crafted as they come, and undoubtedly Zhao’s version, as mindful of beauty and intimacy as he is expected to care about the fate of all life.

At the level of granular observation alone, it looks temporally different. The shots in “Eternals” linger longer than your relentlessly cut MCU Whiz-banger. Even with 10 new heroes to know – centered around Sersi, powered by transmutation from Gemma Chan, high-flying Ikaris from Richard Madden, and Angelina Jolie’s warrior Thena – there’s a quality vibe to everyone’s emotional trajectory. , thanks to a philosophy of creating images with the in-depth cinematography of Ben Davis that offers many good, long looks at an eternal majestically bringing a beautiful place to the fore, or having a great, confrontational, even romantic moment with a coworker. (There’s even a PG-13 love moment.)

The effect is that “Eternals” puts a welcome bounty on how it may feel to have a close bond through centuries, and then that bond is threatened. So yes, these are Zhao horizons (photographic and metaphorical), only with superpowers, galactic costumes, and gnarled CGI alien beasts called Deviants sharing space.

The director’s drinking approach makes “Eternals” the second longest in the franchise’s canon. But with a history that spins around the world (London, South Dakota, Iraq, Australia), which spans across empires (Babylonian, Aztec, Gupta) and sports a handful of languages ​​- including signs, courtesy of the first The MCU’s deaf character, the quick Makkari (a winning Lauren Ridloff) – there are still plenty of story vectors to keep the pace going alongside the usual action sequences and dynamic team humor. (Kumail Nanjiani’s breath of energy, the vain Kingo endures most of this laughter.)

We first meet this diverse ensemble – led by Matriarch Ajak (a rigid but sincere Salma Hayek), a resource person for their heavenly patron – during their inaugural mission, plunging into Mesopotamia of the beginnings of civilization from their slab of spaceship to save a tribe of sick-equipped humans from marauding deviants. Jumping into today’s London, where Sersi is now a teacher and dating an unsuspecting normie (a Kit Harington game), we learn that the Eternals’ shadow tutelage over human progress was completed ago. a long time ago. They are now living ageless lives among mortals around the world. For the gentle protector Gilgamesh (Don Lee), living in the outback, that means more time for hobbies and dealing with a battle-scarred Thena. For Kingo, it’s indulging in Bollywood stardom with a valet (the wonderful Harish Patel) recording his every move. For whom immortal retirement isn’t so easy, it’s Sprite (Lia McHugh), an elder in the body of a 12-year-old, still considered a child.

What prompts an urgent meeting is the sudden reappearance of the Deviants, who were believed to have been defeated for good at Tenochtitlan in 1521. This date was also the date the Spanish colonizers moved on, but the Ajak’s insistence – shown in a flashback – that the Eternals avoid interfering in conflicts between humans does not suit the group, especially Druig (Barry Keoghan), who would do just as well to stop wars with his mind-controlling powers, and Brian Tyree’s fantastic sentient super-inventor Henry Phastos, eager to give humans everything the technology he can design to improve themselves.

These are, of course, ideals with drawbacks; the fact that the screenplay (by Zhao, Patrick Burleigh, Ryan Firpo and Kaz Firpo) seeks to combat the cataclysms of power, inaction and progress through history – albeit in a simplified way that is reminiscent of the power of myths to amplify big questions – is always important to an MCU epic. After so many Marvel movies lip service to the thornier ramifications of its hero tales, there is a seriousness in the opera stakes in “Eternals” that somehow helps merge what is physically spectacular. and philosophical about it. That this is also played out by a cast that looks like our world only polishes what Zhao tries to pull out of the interior of a franchise laden with tropes.

Does that make “Eternals” fun, you ask? Look, hasn’t there already been enough boring digital adrenaline rush from these things? No answer ? So, yes, there is fun; lots of stunts, jokes, fights, visuals, twists and, for romantics, more of a love story, and not all straight, thank goodness. Performances also do their job, especially when, outside of the regulatory superhero mimicry. Zhao’s compassionate gaze asks for something more, for love, fate, the planet, everything. After all, there could be an erupting volcano in the background, or a planet-sized being in the frame.

But what makes “Eternals” special is that, for once, the director really cares as much about the character of this show as he does about the show itself.

“Eternals” opens in US theaters on November 5.

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Take a photographic adventure through Singapore through this pastel-hued film https://w-mappy.com/take-a-photographic-adventure-through-singapore-through-this-pastel-hued-film/ https://w-mappy.com/take-a-photographic-adventure-through-singapore-through-this-pastel-hued-film/#respond Wed, 03 Nov 2021 05:59:16 +0000 https://w-mappy.com/take-a-photographic-adventure-through-singapore-through-this-pastel-hued-film/

Architectural photographer and filmmaker Kevin Siyuan has released a short film showcasing buildings by world-famous architects built around Singapore and its people. However, this is no ordinary movie, this 30 minute clip is the culmination of a year of exploration around Singapore and its vision is heavily influenced by the films of Wes Anderson.

Well titled A Singapore à la Wes Anderson, the film focuses on the diversity of architecture, neighborhoods, parks and green spaces, as well as the people of post-pandemic Singapore. Iconic structures featured in the short film include the Apple Marina Bay Sands, Singapore changi airport, Supreme Court by Foster + Partners and Mille d’Or complex. Singapore’s eye-catching street art works are also on display in the remarkable cinematic style and direction of Wes Anderson films.

“The scenes were framed using a mostly flattened symmetrical perspective with an emphasis on architecture but contextualized and told with elements that are uniquely Singapore,” he explained in the description of the video. The talented filmmaker also mentioned that the signature of Wes Anderson mainly films The Grand Hotel Budapest, TAquatic life by Steve Zissou, Moonrise Kingdom and the recent release The French dispatch were used as inspiration for his work.

Take a trip through Singapore with Kevin Siyuan’s A Wes Anderson-ish Singapore below.

READ MORE

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La Mesa teenager takes inspiration from her own life in short film about mental health among young Asian Americans https://w-mappy.com/la-mesa-teenager-takes-inspiration-from-her-own-life-in-short-film-about-mental-health-among-young-asian-americans/ https://w-mappy.com/la-mesa-teenager-takes-inspiration-from-her-own-life-in-short-film-about-mental-health-among-young-asian-americans/#respond Sat, 30 Oct 2021 07:00:00 +0000 https://w-mappy.com/la-mesa-teenager-takes-inspiration-from-her-own-life-in-short-film-about-mental-health-among-young-asian-americans/

She thought her dream of making movies was behind her, so Mikayla Kim found a new one focusing on a career in mental health.

But the San Diego Asian Film Festival‘s Voice coil program for high school filmmakers allowed her to combine these two dreams and make them come true with her first official film, “Covered. “Her nine-minute short features the voices of other young Asian Americans discussing how their upbringing has influenced their relationship with mental health.

“I chose to focus on mental health mainly because of how triggering this topic is for me. It made me realize how stigmatized mental health is within immigrant households, because I am always very uncomfortable talking about my past, with my family, ”she says. “I wanted to explore if other members of the Asian community felt the same, and I continued to create an emotional outlet and a safe space for individuals to share their struggles after years of possibly suffering in silence.”

The annual film festival is in its 22nd year, showcasing more than 130 films from more than 20 countries, in 30 languages. Screenings take place at the UltraStar Mission Valley, the Museum of Photographic Arts in Balboa Park and the Angelika Film Center in Carmel Valley. Tickets range from $ 12 to $ 295, with discounts for students, seniors, military, and members of the Pacific Arts Movement. The shorts from the Reel Voices program will be screened Sunday noon at the UltraStar in Mission Valley.

Kim, 17, is in her final year at Helix Charter High School and lives in La Mesa with her family and “two of the best 4 year old pit bulls I could have asked for.” She took the time to talk about her film debut and her own journey with mental health.

Question: Tell us about “cloudy sky”.

A: “Overcast” is approximately nine minutes long and is a documentary-style short film featuring young Asian Americans who explain how parenthood plays an important role in education and their relationship to mental health, while also addressing the realities of growth in an immigrant. Housework. This was motivated by my personal experience with mental health, growing up in an immigrant home, which made me wonder if there were other young people facing similar experiences.

I started working on the film in the first week of June this year and made a lot of progress pretty quickly since I already knew I wanted to focus on mental health. I finished my film in about 10 weeks, per the program deadline, although it would have been nice to have more time to work on it. I am however happy with the end result and had a wonderful time working alongside my peers and mentors on the program. They were all so genuine and kind the entire time we worked together. I’m sad it must have ended so quickly.

Question: Can you explain why you chose to focus on the topic of mental health?

A: I wanted my topics to finally be heard by an ally who could relate to their issues and connect their stories to a larger audience. It was important to me that the voices of young Asians finally express how tedious it is to work to live up to the standards that immigrant parents tend to have, and not being able to communicate properly about what we feel because we are afraid of being rejected, misunderstood or ignored.

Question: If you are comfortable talking about your own relationship with mental health, especially in the context of being young and Asian American, can you tell us a bit about your experience?

A: When I was 16, I remember feeling slightly dizzy and glued to the spot as my friends and family sang “Happy Birthday” to me. I was experiencing intrusive thoughts and felt immensely forgotten and ignored as I was the center of attention at the time. I sobbed silently in bed and thought, “I’m sorry I didn’t appreciate the life you gave me. I’m sorry I couldn’t contact you to count on you. I’m sorry that I wasn’t the aunt you wanted me to be. It was this continuous cycle of self-degradation, and I was too afraid to ask for the appropriate support.

I was unhappy, demotivated and discouraged because of the pressure to succeed in my studies that had weighed me down my whole life. Asian households are known to demand academic excellence; I felt like a failure that I couldn’t exceed my parents’ expectations, and I finally started to give up on myself. I was finally able to pull myself out of this six-month period of desperation, finding the resilience that allowed me to be here today. My parents still ignore the restless nights and tears I shed isolating myself from everyone, but I understand that it was my fault that I never contacted them about this. Mental health is rarely, if at all, mentioned in Asian culture. This is something our parents weren’t really exposed to when they were growing up in other countries, so I would never blame them for my bad relationship with mental health. I just wish they had the opportunity to learn about such an important topic as this.

What I like about La Mesa …

One thing that I love where I live would definitely be the community because I have grown up in the same area all my life. I have been able to observe the people, nature and diversity of my neighborhood and see it flourish over the past 17 years. I love being able to take quiet walks with my dogs and greet all my friendly neighbors with their lovely pets.

Question: What did you mean about this relationship that young Asian Americans have with mental health, especially for those who grew up in immigrant households?

A: I would hate to assume that every household is the same, but my personal experience was that I was often compared to my friends, family, and other peers growing up. It was very painful for my self-esteem, but I always knew my parents never had any malicious intent. I would like to believe that by comparing me to people who were relatively close to me, my parents saw their comments as motivation for me to perform at the same level as everyone else. Unfortunately, it didn’t work out that way because I’m quite sensitive and take everything very personally.

Instead of expressing how I felt about the situation – because in Asian culture it would be seen as a cue – I stayed silent and just learned to accept it. I think there are countless young people who have gone through the same thing. Some of us struggle in silence because we don’t have the courage to speak properly, and we don’t want to ruin our family image, be treated differently by our parents, or be rejected for asking for help since. that our own parents wouldn’t fully understand due to the differences between growing up in American culture and growing up in the cultures of their home country.

Question: What was rewarding about your work on “Overcast”?

A: One of the most rewarding things about this movie would absolutely be the immense amount of love and support I have received in recent times. At first, I wasn’t going to tell anyone about “Overcast” because I’m so self-critical that I wasn’t proud of it. I don’t feel comfortable sharing a job that I’m not happy with. Despite this trait of self-criticism, I received so much praise and I couldn’t be more grateful. I am also more than happy to be able to share such a neglected topic within my community. Mental health is very important to me, so being able to promote it in such a conservative culture means a lot to me.

Question: What did this job teach you about yourself?

A: I learned that I’m bad enough at comforting people, but by working to interview people for the film, I was able to improve my comforting skills dramatically.

Question: What’s the one thing people would be surprised to find out about you?

A: While constantly exhibiting an upbeat and silly personality on the outside, I’m like everyone else who has internal struggles and uses humor as a coping mechanism.

Question: Please describe your ideal weekend in San Diego.

A: My ideal weekend is to get up early to walk my dog ​​and watch the sunrise early in the morning, preferably somewhere near the beach so I can feel the breeze and the light mist from the ocean. Then I like to meet up with friends for breakfast and follow up with a spontaneous adventure on the road. To end the day, it would be nice to make some type of dessert, light a scented candle, and watch a cute animated movie with my siblings in our living room.

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Promise, Armenian Film Foundation collaborates in support of cinema and photography at UCLA https://w-mappy.com/promise-armenian-film-foundation-collaborates-in-support-of-cinema-and-photography-at-ucla/ https://w-mappy.com/promise-armenian-film-foundation-collaborates-in-support-of-cinema-and-photography-at-ucla/#respond Thu, 28 Oct 2021 07:00:00 +0000 https://w-mappy.com/promise-armenian-film-foundation-collaborates-in-support-of-cinema-and-photography-at-ucla/

LOS ANGELES – The Promise Armenian Institute at UCLA, Los Angeles, CA – The Armenian Institute of Promise is pleased to announce that it has signed a Memorandum of Understanding (MOU) with the Armenian Cinema Foundation (AFF) to collaborate on a series of projects that will support Armenian cinema and photography at UCLA.

On November 18, 2021, the Promise Armenian Institute will host “Consequences: the Armenian earthquake of 1988, The first online exhibition of Armenian Image Archives, which will celebrate the work of Asadour Guzelian. Guzelian is a UK-based photographer who visited Armenia shortly after the 1988 earthquake. This Zoom event will feature some of his photographs, which were published in mainstream newspapers at the time.

The Armenian Image Archive (AIA) is the first of the new collaborations between PAI and AFF. These new archives have three objectives: the preservation, research and exhibition of Armenian photographers and photographs related to the Armenian subject. The AIA will identify collections of photographs from around the world, from the mid-19th century to contemporary collections. It will provide both a repository and an ongoing platform for discourse and study on Armenian photographers.

The Armenian Cinema Foundation was founded by J. Michael Hagopian, Ph.D., who played a decisive role, with NAASR, by creating the first Chair of Armenian Studies at UCLA. Hagopian was a senior lecturer at UCLA before becoming a documentary filmmaker. With its legacy in mind, the Armenian Film Foundation will support projects at UCLA that link film and photography with a deeper understanding of Armenian history, culture and arts.

Joseph Malikian, Ph.D., an expert in ancient Armenian photography, works closely with Armenian Image Archives. Malikian is the author of Armenians in the Ottoman Empire: an anthology and a photographic history, and an upcoming publication, The Krikorians on the road to Jaffa.

1A rare photo from the genocide period, Armenian Film Foundation

As a member of Malikian collection, Malikian collected ancient images and history from many Armenian photographic studios, dating from the 1860s, including Abdullah Freres, Sebah, Sebah & Joaillier, Tarkulyan (Atelier Phebus), Iranien, Gulmez Freres, Lekegian, Krikorian, Sarrafian, Alban , Van Léo, Armand, De Mirjian, Karsh and many others. Its collection contains original images from famous Armenian photographic studios in Armenia, Tiflis, Baku and other parts of what was once the Russian Empire.

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UCLA pledges Armenian Institute partner of Armenian Film Foundation to support film and photography projects – Asbarez.com https://w-mappy.com/ucla-pledges-armenian-institute-partner-of-armenian-film-foundation-to-support-film-and-photography-projects-asbarez-com/ https://w-mappy.com/ucla-pledges-armenian-institute-partner-of-armenian-film-foundation-to-support-film-and-photography-projects-asbarez-com/#respond Thu, 21 Oct 2021 22:26:04 +0000 https://w-mappy.com/ucla-pledges-armenian-institute-partner-of-armenian-film-foundation-to-support-film-and-photography-projects-asbarez-com/
UCLA Promise Armenian Institute and the Armenian Film Foundation to host their first collaborative webinar on Thursday, November 18

LOS ANGELES-The Armenian Institute of Promise announced that it has signed a memorandum of understanding with the Armenian Cinema Foundation to collaborate on a range of projects that will support Armenian cinema and photography at the University of California, Los Angeles.

On November 18, the Promise Armenian Institute will host “Consequences: the Armenian earthquake of 1988, The first online exhibition of Armenian Image Archives, which will celebrate the work of Asadour Guzelian. Guzelian is a UK-based photographer who visited Armenia shortly after the 1988 earthquake. This Zoom event will feature some of his photographs, which were published in mainstream newspapers at the time.

The webinar, which is the inaugural event of this new collaboration, is co-sponsored by the UCLA Richard Hovannisian Chair in Modern Armenian History, the UCLA Library, the National Association for Armenian Studies and Research, and the Ararat-Eskijian Museum.

The Armenian Image Archive is the first of the new collaborations between PAI and AFF. These new archives have three objectives: the preservation, research and exhibition of Armenian photographers and photographs related to the Armenian subject. The AIA will identify collections of photographs from around the world, from the mid-19th century to contemporary collections. It will provide both a repository and an ongoing platform for discourse and study on Armenian photographers.

The Armenian Cinema Foundation was founded by J. Michael Hagopian, Ph.D., who played a decisive role, with NAASR, by creating the first Chair of Armenian Studies at UCLA. Hagopian was a senior lecturer at UCLA before becoming a documentary filmmaker. With its legacy in mind, the Armenian Film Foundation will support projects at UCLA that link film and photography with a deeper understanding of Armenian history, culture and arts.

Joseph Malikian, Ph.D., an expert in ancient Armenian photography, works closely with Armenian Image Archives. Malikian is the author of “The Armenians in the Ottoman Empire: An Anthology and a Photographic History” and of an upcoming publication, “The Krikorians on the Road to Jaffa”.

As a member of “Malian collection, “Malikian has collected period images and history from many Armenian photographic studios, dating back to the 1860s, including Abdullah Freres, Sebah, Sebah & Joaillier, Tarkulyan (Atelier Phebus), Iranian, Gulmez Freres, Lekegian, Krikorian, Sarrafian, Alban, Van Leo, Armand, De Mirjian, Karsh and many others. His collection contains original images from the famous Armenian photographic studios of Armenia, Tiflis, Baku and other parts of what was once there. ‘Russian Empire.

“The Armenian Image Archive will also identify previously unknown collections from the Armenian Genocide period,” said Carla Garapédian, Ph.D., from the Armenian Cinema Foundation. “Over a hundred years have passed, but there are still photos that haven’t seen the light of day.

A rare photo from the genocide period, Armenian Film Foundation

“The Armenian Institute UCLA Promise welcomes this new partnership with the Armenian Film Foundation. The Armenian Image Archive, along with all future projects, will enrich the scientific inquiry into Armenian photography and cinema at UCLA and make available to the public and the academic community images and collections amounting to a national treasure. », Declared the professor Anne Karagozian, the first director of the Armenian Promise Institute. “I also want to thank the UCLA Library and the UCLA Film and Television Archives for their important future roles in our partnership with AFF. Both organizations are international leaders in the preservation of and access to cultural heritage, and their world-class expertise will amplify the work of the Armenian Image Archives to advance our common goals.

The “Consequences: the Armenian earthquake of 1988”The webinar will take place on Thursday, November 18 at 10:00 a.m. PT. Those interested in participating can register in line. To learn more about the Promise Armenian Institute, please visit the PAI website and to learn more about the Armenian Film Foundation, please visit their website.

Asadour Guzelian was born in the UK and founded what became the Guzelian Agency in 1986, after eight years of chipping away at Barry Wilkinson in Bradford. He provided news and photographs of articles to UK national newspapers. Exhibits include solo exhibitions at the National Museum of Photography and The Cornerhouse, Manchester. He has twice won the prestigious Yorkshire TV Photographer of the Year. Guzelian had only a three-year career when he traveled to Armenia to cover the catastrophic earthquake of 1988.

Joseph malikian, Ph.D., is the author of “Armenians in the Ottoman Empire: An Anthology and History of Photography” and an expert on ancient Armenian photography. The Malikian collection was developed as part of the “Middle East and Armenia Photographic Project” which was dedicated to the study of Armenian studios in the Ottoman and Russian Empires, the Middle East, Bulgaria and other countries in Europe. Throughout this period of history (from the 1850s to the 1960s), Armenian photographers dominated the industry in the cultural and commercial capitals of Europe and Asia. The primary objective of the Malikian Collection has been to identify and bring together the history of these studios and to continue the collection of original images representing the work of these photographic establishments. The Armenian Image Archive will support the founding work of Joseph Malikian.

Carla Garapédian, Ph.D., is a filmmaker and member of the Armenian Film Foundation, which has entered into a new partnership with the Promise Armenian Institute – to support the study of Armenian cinema and filmmakers, as well as to establish the Armenian Image Archive , a repository and platform for the study of Armenian photography – from the earliest to contemporary photographers.

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The pixl-latr x VALOI adapter: get more for your film “digitization” money https://w-mappy.com/the-pixl-latr-x-valoi-adapter-get-more-for-your-film-digitization-money/ https://w-mappy.com/the-pixl-latr-x-valoi-adapter-get-more-for-your-film-digitization-money/#respond Thu, 21 Oct 2021 07:00:00 +0000 https://w-mappy.com/the-pixl-latr-x-valoi-adapter-get-more-for-your-film-digitization-money/

The suppliers of photographic film digitization systems pixl-latr and VALOI have given up to unite and create the pixl-latr x VALOI adapter, a simple, inexpensive and very effective adapter to mount a VALOI film holder on pixl-latr. Simplicity itself.

At £ 44.99 / US $ 62, pixl-latr is one of the most economical and versatile photographic film scanning systems available today. Out of the box, the pixel-latr covers 35mm, 120 and 4 × 5 large format films (even more with its open door platform).

On the other hand, VALOI Film Holders, with their ingenious curved film feed system, offer a slightly faster way to scan larger amounts of 35mm and 120 film with less hassle, while maintaining the flat film. They also have an upcoming line of custom media, which will cover some niche formats.

The pixl-latr x VALOI adapter, then, help combine the two platforms, giving you the pixl-latr platform / light diffuser on one side, with VALOI’s unique film holder on the other. Together, they represent a more versatile platform that gets the best out of everyone while keeping that price accessible: the pixl-latr x VALOI adapter only costs £ 12.49 / US $ 18.

DSLR, mirrorless and smartphone scanning

Interest in film and traditional photography continues to grow, but traditional digitization options seem to continue to evolve relatively glacial time scales. In fact, there has been no change in the options available for high speed, full roll film scanning options from any of the usual suspects of film scanner manufacturers for over a decade.

It goes without saying that the current market is only a fraction of what it was during the heyday of film photography and this is where companies like VALOI, pixl-latr, Negative Supply and Cameradactyl came in. to fill the niche: high quality products, with and without automation that meet the needs of today’s film photographers.

You might be interested in …

With modern digital photography easily surpassing the goal resolution of many film formats today, it is possible to use a DSLR, mirrorless, compact camera or even a smartphone to achieve results that match or even exceed the results they were getting before, even in the high-end laboratories. This is not the first time that this subject has been covered on EMULSIVE and it will not be the last.

Calling pixl-latr and VALOI “competitors” above, while technically correct, does not tell the whole story. I’ll let Arild Båsmo from VALOI and Hamish Gill from pixl-latr tell you themselves:

“VALOI started out with the help of many people, and among them Hamish from pixl-latr was perhaps the loudest voice encouraging us to take him to Kickstarter.”

~ Arild Båsmo

“… Our first collaboration is this new adapter which brings together two modular scanning systems. It strikes at the very heart of what I think of VALOI – modularity and user-centric design, and I think pixl-latr is a perfect match for our holders.

~ Hamish gill

It’s a shared sentiment, as Hamish continues:

“Working together to provide our customers with more options and better products makes me feel good! We hope this is just the start too, who knows what we can bring to the market when we continue to work together. “

~ Hamish Gill

What more can I say than that? The pixl-latr x VALOI film holder is available now and exclusively on the pixl-latr website for £ 12.49 / US $ 18, where it can be purchased alongside 135 and 120 VALOI movie owners at equally reasonable prices.

Can we have a motorized upgrade afterwards?

~ ME

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DxO FilmPack 6 introduced with new analog film filters and effects https://w-mappy.com/dxo-filmpack-6-introduced-with-new-analog-film-filters-and-effects/ https://w-mappy.com/dxo-filmpack-6-introduced-with-new-analog-film-filters-and-effects/#respond Wed, 20 Oct 2021 07:00:00 +0000 https://w-mappy.com/dxo-filmpack-6-introduced-with-new-analog-film-filters-and-effects/

DxO today introduced a new version of FilmPack 6 – its popular software that reproduces the grain and colors of legendary analog films.

In this new version, new film looks have been introduced with additional cinematic renditions, a wide range of new effects and a new feature called “Time Machine” which is an interactive introduction to the history of film photography. As with DxO PhotoLab 5, also announced today, Fujifilm camera owners will be happy to hear that their cameras are now supported (X-Trans RAW files).

“Time Machine” is a fun way to apply historic film looks to their footage so they can recreate a similar style and finish. It’s a new way to display creative and analog renderings that are separated into 14 periods illustrated by iconic images and famous figures in photography.

“We wanted to give DxO FilmPack even more depth,” comments Jean-Marc Alexia, VP Marketing & Product Strategy. “To document our Time Machine, we collaborated with the Friends of the French Museum of Photography in Bièvres, an association chaired by photographer Didier Pilon, who produced fantastic research.”

15 new renderings were introduced, including KODAK’s popular EIR Professional Infrared EIR Color Slide Film, EKTACHROME, and monochrome instant film for the Polaroid 600 camera, IMPOSSIBLE PX 600 SILVER SHADE. In addition, 20 new effects are available as well as 15 new light leak effects and 15 new frames.

A new color rendering engine based on eight channels, instead of the six channels used in previous versions, gives users more precise color control. Users can also select their own tint in the highlights and shadows of their images, combine colors, and achieve subtle and realistic split-tone effects.

Pricing and availability

DxO FilmPack 5 (PC and Mac) is available now on the DxO online store at the following introductory prices until November 14, 2021:

  • DxO FilmPack 6 ESSENTIAL Edition: £ 48,999 instead of £ 75.
  • DxO FilmPack 6 ELITE Edition: £ 99.99 instead of £ 129.

The DxO FilmPack 6 license does not require a subscription. Photographers holding a DxO FilmPack 5 license can purchase an upgrade to DxO FilmPack 6 by logging into their customer account.

Users with a software version older than DxO FilmPack 5 are not eligible for an upgrade and will have to purchase a new license.

A full one-month trial version of DxO FilmPack 6 is available on the DxO website.

DxO & ePHOTOzine photography competition – you can win a copy of DxO PhotoLab 5 or FilmPack 6 in our last contest.

From DxO:

DxO FilmPack 6

DxO FilmPack reproduces as closely as possible the grain and colors of legendary analog films thanks to an exclusive calibration process developed in its laboratories. The software recreates the hue, saturation, contrast and grain of 84 authentic analog films, including the popular Kodak Tri-X 400, Polaroid 690, Ilford HPS and Fujifilm Superia. He also uses a decidedly original approach to navigate the progression of development and processing technologies through different photographic eras.

Time Machine: Harnessing the History of Photography to Boost Creativity
DxO FilmPack 6 offers users a real journey through time, offering an introduction to the history of analog photography from its inception to the present day. The software introduces a new way to display creative and analog renderings separated into 14 periods illustrated by legendary and iconic images and famous figures in photography. Each photograph is technically and historically documented, and users are given the closest render so they can apply it to their images and recreate a similar style and finish. So, for example, users can infuse their black and white images with the charm of the 1950s or even the soul of William Klein’s art.

DxO FilmPack 6

New renders of legendary films
DxO FilmPack enters the modern digital age with 15 new renderings, in particular two legendary films, the famous KODAK EIR Professional EIR Color Infrared Slide Film EKTACHROME and the monochrome instant film for the Polaroid 600 camera, IMPOSSIBLE PX 600 SILVER SHADE; seven film simulation modes of Fujifilm X-series digital cameras; and six cinematic renderings inspired by the biggest trends in cinematic color grading.

A wide range of creative effects
DxO FilmPack 6 also opens up unexplored creative possibilities with 20 new effects, including drops and crumpled paper, designed to give images a vintage look; 15 new light leak effects, such as light spots, haze, and zoom, that add subtle color schemes; and 15 new frames, namely matte, black frame and film border, which turn your images into works of art and make your photos look original.

DxO FilmPack 6

Eight-channel full HSL settings and fully customizable split tone
A new color rendering engine based on eight channels, instead of the six channels used in previous versions, gives users more precise color control. Users can also select their own tint in the highlights and shadows of their images, combine colors, and achieve subtle and realistic split-tone effects.

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Watch this excellent explanation of how photographic film works https://w-mappy.com/watch-this-excellent-explanation-of-how-photographic-film-works/ https://w-mappy.com/watch-this-excellent-explanation-of-how-photographic-film-works/#respond Tue, 20 Jul 2021 07:00:00 +0000 https://w-mappy.com/watch-this-excellent-explanation-of-how-photographic-film-works/

It’s easy to talk about cinema as if it were magic. Many analog shooters will speak at length about how the medium itself gives photography an intangible sense of curiosity and wonder. I am guilty of it myself. But, in reality, cinema is the product of hard science. The production of films requires meticulous mathematics and specific chemistry applied on a large scale. It is a truly impressive scientific feat. While many photographers could easily take and shoot a reel of film, understanding how it actually works is another story. This 24-minute video from the Smarter Every Day YouTube channel does a great job of digging into the chemical mechanisms that go into capturing photos.

Understand the basics

The film, as we know it, relies on photosensitive silver suspended in a gelatin-based emulsion. Light strikes this silver to create a latent image, which emerges when it crystallizes during the development process. The money stays in the negative when you shoot in black and white, which has always seemed very cool to me. This makes black and white film more difficult to scan as infrared sensors cannot penetrate metal for automatic dust removal. But, each black and white negative is, in a way, a tiny little silver sculpture of the scene you saw in front of you. Color developers use bleach to wash the silver off the film and the color itself comes from the dyes instead.

You don’t need to understand all of the chemical processes behind shooting a movie to be able to load a roll and go out with your camera. This basic knowledge can be helpful, however. For example, this explains why it is difficult to overexpose color film. When adding more light only makes the negative more dense, you have more flexibility. You can exceed the negative film by several stops while still getting a usable image.

Chemistry 201

Once you understand how a typical film works, it’s easy to fall into the burrow of alternative photographic processes. Some photographers still do awesome things with old-fashioned photography techniques like wet plates. If you’re looking for something with a lower barrier to entry (and less of the super toxic chemicals involved), you can try taking direct positive images on photographic paper.

Cinema is all the rage right now, but the process of making, filming and processing is still wonderfully old-fashioned. Check out our tour of the Kodak Film Factory for an overview of how it is made. Or, browse through this list of movies you should go shoot before they go. We’ve already lost a few good movie stocks this year, so it’s time to get your movie fix before other great options hit the market.

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