PONF x SONY Update: BIG Things To Come

PONF has a big vision for camera modularity. We see modularity as the key to the ability to create an ecosystem of camera bodies, lenses, systems, and formats that can be exchanged in and out depending on who is using them and how.

Sometimes you need something fast and light. Other times, the situation calls for the process to slow down and see things in stunning, highest possible definition, and you simply need the ability to capture more light. That’s where medium format comes in.

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Even before the first PONF Camera, which will be based on the 35mm format and have either APS-C or Full Frame Sony imaging sensor, is on the market, we already have eyes on the future to release something BIGGER.

In partnership with our friends at Sony, PONF is pleased to announce that we will be officially using their 100MP sensors in the second family of PONF products, allowing users to seamlessly alternate between medium format film and medium format digital. Our democratic pricing structures will make this technology to professionals, educators, and consumers alike for the first time in history.  Gone are the days where only the top dollar professionals could access top of the line sensors. At PONF, it’s preeminence to the people!

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Also gone are the days of having to consider analog photography a “risk”. PONF offers both imaging solutions of film and digital side by side. You can have the immediate gratification and “fail proof” option of digital, but you can also have the physical, tangible, undeletable aspect of film. Not to mention both looks, highly sought after by artists and clients alike. Bye bye, presets! 

For everyone that’s ever dreamed of creating amazing, and wished they had access to their dream camera to bring it to life, the time has come. PONF, the Everything Camera, will be yours to explore the world with soon!

Stay in the know! Be sure to follow PONF Camera progress on our Facebook, Instagram, and by signing up for our newsletter.

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The Many of Uses For Cameras

By Katherine Phipps

Remember cameras?

Real cameras. Because our quest is to produce a camera for all, we at PONF spend a lot of time thinking about the uses of cameras. Before smartphones were packing imaging sensors as sophisticated as my first DSLR and making simulated bokeh, it seemed to be a lot more common that people every now and then would get themselves a new camera. Or maybe they’d get one handed down from their family. Cameras used to be built to last, silently clicking frames to freeze moments of time as it passed by.

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A Time Before Ubiquity

I remember an interesting intersection of time when people had all types of cameras. People had point and shoots of varying cool automatic capabilities. Pro photogs had cameras with big battery grips and lenses like soup cans, many elements of heavy glass, artsy photographers had beautiful view cameras and old, mechanical 35mm and medium format cameras that had silently witnessed the 60s and 70s. People had Polaroids, and didn’t say “that still exists?!” in amazement when you went to snap a photo.

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Enter the “camera phone” which seemed to for some period of time distract us from the wonders of having a dedicated camera, so much so that to “non-photographers” grow accustomed to shooting photos and now the people taking pictures who never had a dedicated camera perhaps outweighs the number of people who did have a “real camera” and carried it around for some period of their lives, and far less who do so on a regular basis today.

There’s a Million Reasons  To Carry A Camera

So here is a list of all of the uses for photography, in case you were wondering how you might use your new PONF camera. We are excited to help people remember cameras. Do you have another idea for a way to use a camera? Write us a comment with your own ideas below!

  1. Taking photos of your friends
  2. Taking photos of your family
  3. Taking photos of your dog or cat
  4. Taking photos of all the dogs
  5. Taking photos of beautiful light
  6. Wedding photography
  7. Art photography
  8. Landscape photography
  9. Travel photography
  10. News photography
  11. Documenting injustice
  12. Documenting kindness
  13. Documenting everything
  14. Sharing perspective
  15. Wildlife photography
  16. Astrophotography (photographs of the night sky)
  17. Photography for research
  18. Photography for forensics
  19. Photography for education (literally, pictures of Everything!)
  20. Photography for advertising
  21. Photos of products
  22. Food photography
  23. Stock photography
  24. Fashion photography
  25. Historical photographs (the moments are happening right now, folks!)
  26. Medical photography
  27. Architectural photography
  28. Industrial photography
  29. Interior photography
  30. Photo Booths
  31. Event Photography
  32. Concert Photography
  33. Album Art
  34. The Yearbook
  35. Personal photography (a record of your own intimate time and place)
  36. Look around. Tell us the next best use for your camera.

PONF is the Everything Camera.

So there you have it, folks. So many reasons to carry a camera, so many opportunities to look up and around, away from your smartphone. You’ll notice so much more of what’s happening around you, if you only open your eyes. The PONF Camera Systems seek to put all of the possibilities at your fingertips. No matter what your camera will witness on the day to day, we are here to build it perfectly for you.

Stock Photography sourced from Pexels.com

The Man Behind the Camera: Meet PONF Founder Raffaello Palandri

In our interview series introducing the different members of the PONF team, you might have started to wonder who was the creator of this ambitious, innovative company. Rest assured, we didn’t forget about Raf, he has just been SO busy behind the scenes in thousands of hours of meetings, strategy development, and research, that we weren’t able to share this interview with you until now, but here it is! Without further ado: introducing PONF’s founder and director, Raffaello Palandri.

A lifelong user of film and digital cameras, Raffaello also brings to PONF many years of wisdom in leading large, complex IT projects. He applies this knowledge of quality, teams and systems to execute his vision and successfully create a camera that many others have talked about for years but never quite managed to bring fully to market. He is busily networking within the photography industry to create a new kind of camera company, one that is a friend and collaborator of all, to create a future for film photography that is sustainable and accessible to all.

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Where are you from, where did you grow up? Where are you living now?

I was born in Florence, Italy (its Italian name is Firenze), but I grew up mostly in Rome. When I started working on the idea of an innovative camera, I had the luck of finding in my best friend, my soulmate, Tiziana. To start the PONF Multiback Open Camera Project we moved to Dunfermline, Scotland, the old Capital of Scotland, before Edinburgh got the job. After the vote on Brexit, we decided to move to Germany, and after a few weeks in search of the perfect spot, we chose Nuremberg, Bavaria (and to be more precise in Middle Franconia).

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What is your earliest memory with photography?

I have memories of me keeping my mum’s Olympus Pen when I was probably only 4 years old. I still have that camera, and I love its silent shutter and the pleasant smell of the leather bag, that reminds me my family and my childhood.

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Describe your first encounter with digital photography.

My first digital camera has been the Konica Minolta Dynax (Maxxum in the USA) 5D. I still use as avatar a selfie taken with that camera. I was amazed by the technology, having always been the guy that disassembled everything he had on his hands. So, I started shooting both film and digital, never leaving film, though.

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What is your favorite film and camera or image making equipment/process?

Apart from PONF? I love 6×6 cameras and, being a collector, I developed a passion for TLRs (twin lens reflex). I love their design, the sound of their shutter.
For image making, 4×5 is a really lovable format. It generates fantastic images, and you can do everything at home, development and printing.

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What has your career been like? What are some of your favorite or most formative past projects or roles?

I had the luck of getting good experience in managing projects, including very large ones. I think I had many different roles on the same ladder. I have always worked in IT related jobs/projects, from really humble roles to managing ones. What I always loved about working in IT is the huge potential computers have in helping us, if we are able not to lose our humanity searching profit. I have been a quality manager, and from that role I have learned how to follow any process in detail, something that now is becoming essential in the development of our camera.

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How did you get involved with PONF?

I had the idea, I did the research, and I bootstrapped the company until now. I have been lucky in finding many people interested in the project, including the many companies and institutions which are supporting us in different ways. We are building up a team, and that’s important. I would like to find our project, in a five years time, deeply rooted in the photographic industry and development. We are investing to help people learn how to make better photographs, how to write with light.

 

Tell us about your role with the project, recent successes, in progress developments, etc.

Formally I am the director of the company that runs the project and the head of R&D. Using less official words, I am one of the team who is developing this amazing camera.
We are generating a lot of interest around the project, making every day steps forward, learning from our mistakes, considering them as opportunities to better learn. We are now teaming up with amazing companies, amazing institutions, amazing people. We can boldly say that we are small, but we are growing strong.

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What are you interested in besides photography?

Well, I am Curiosity with a capital C. I am an avid reader, and I usually read 150 books per year, in addition to those required by my job. I am a tinkerer, I like to touch things and learn how they work to improve them. I love calligraphy and collect writing instruments. Apart from that, I relax practicing meditation (one day I will come back to teach it) and ki development.

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Let’s end with your advice to another photographer but with a twist: Ten words or less or a Haiku.

Follow the light
the one outside you
the one inside

Great Haiku! Thanks Raf. You can drop Raf a line at raffaello@ponfcamera.com, and follow him at his website, Twitter, Instagram, and blog, as well as on the PONF Facebook, Instagram, and newsletter. So many ways to get in touch! 

Focused on Photographs: Meet Gregg McNeill

In this interview, we meet photographer, filmmaker, and educator Gregg McNeill, who joins the PONF team as our key tester of the prototype of the PONF Camera, and leader in the PONF Foundation for Photographic Education, which will provide resources to Fellowship members.  He is currently based in Scotland, but was born in the United States and has lived all over the world, working as a director of photography and photographer on TV and film documentary projects including the acclaimed “Outside The Wire” for The Red, White, And Blue Project, the heartfelt story of soldiers working to make the lives of children better in climate of war in Afghanistan. He has also worked on many other commercial and personal projects. Because of his love of all types of picture-making, from digital filmmaking to traditional (or alternative) photographic processes such as wet plate collodion, we think he is an excellent resource for all of us in the PONF community and his test images are certain to be beautiful. Without further ado, we are pleased to introduce Gregg.

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PONF: Where are you from, where did you grow up? Where are you living now?

Gregg McNeill: I was born in Michigan, grew up in Ohio, moved to Virginia and currently live in Scotland with my wife and daughter.

What is your earliest memory with photography? 

My mother used to take snapshots with a Kodak Instamatic. The ubiquitous form factor of that little camera has stuck with me. It used the blue flashcubes. There were always a few stashed in a drawer in the living room.

Describe your first encounter with digital photography.

I was shooting for a company in Virginia and they had bought a digital camera that I was asked to become proficient in using. It was an early Nikon (I don’t remember the model number).  I was a fairly late adopter of digital photography. This wasn’t intentional, it was just that my personal work wasn’t calling for it. After using several digital cameras, I understood digital’s place in both my professional life as well as my personal work.

Several years ago I was shooting a documentary in Afghanistan. I was shooting both video and stills. There would have been no way to do that job with film. I was a one-man band, with all of my gear carried on my person. In addition to the video gear, I had a Canon 40D (that had just been released), a kit lens, a Nifty-50 and a 35mm 1.4 prime. I shot some of my best portraits with that set-up. Digital was definitely the right tool for that job.

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I feel like in the last 5 or so years, we’ve gotten beyond the Film VS. Digital debate and that is a good thing for the photographic community in general. Both mediums have their place and we need to remember that. Analogue photography is becoming what it was always meant to be, an artistic medium that can be practiced by anyone. It’s not as cheap as it used to be, but any artistic pursuits never are.

What is your favorite film and camera or image making equipment/process?

That is a tough one.

I have a great affection for the Pentax K-1000. It was my first camera. Its shutter clack has always been comforting to me. The K-1000 is in my opinion the very best student camera ever made. It’s very sturdy and has an accurate meter. The 50mm 1.8 lens that came with mine is a great piece of glass. To this day I still shoot with it.  I love the quality of image this camera and lens produce. When coupled with TMAX 3200 and a high acutance developer. The sandy granularity of the images brings to mind the classic looks of old-school street photography from the 40’s and 50’s.

The Original Holga is right up there. At one time I had 5 of them. Each one had a different personality, photographically. I shot exclusively with them for about 5 years. The removal of the inserts meant that I was framing and exposing to the edge of the film itself, often including the edge numbers of the film in the final image. The focus fall off and vignetting combined with the 6×6 format made this a wonderfully challenging camera to shoot with. It’s tough plastic construction meant that they could sit in the bottom of my bag all the time. 2 or 3 Holgas were my constant companions for many years.

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The Bronica ETR always felt really great in my hands. The 2¼ frame was a really nice format for framing objects and people. The tack sharp lens and rectangular frame was a nice compliment to working with the Holga.

Where the Holga taught me to let go and embrace the unknown, The 4×5 Graflex Press Camera brought me back to a place where I had to really slow down with my images and concentrate on the components of the frame again.

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When I took up Wet Plate Collodion, I bought a Vageeswari 10×12, my current favourite. It’s the most simple and honest camera I have ever used. The process of Wet Plate Collodion is the most challenging, frustrating, amazing and fascinating process I have ever done. I constantly feel challenged and right at the edge of my comfort zone. I haven’t been this excited about photography since the first time I got excited about photography over 30 years ago.

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Favourite film is easy: Medium Format Tri-X Pan ASA320. The tonal gradation and grain structure of that film was always second to none.

What has your career been like? 

I’ve been making images since I was a teenager. My photographic journey has taken me through many film formats (Minox, 35mm, 120mm, Polaroid, Pinhole, LomoKino, 4×5, 8×10, 10×12). I am currently obsessed with the Victorian wetplate Collodion process. I split my time between Corporate Video and Documentary work and Wetplate.

What are some of your favorite or most formative past projects or roles?

My first University photography teacher (whose name has been long since lost in my memory) had a tremendous influence on me in ways I didn’t realize at the time. She instilled in me, among other things, the maxim of framing in camera. So that we couldn’t crop our shots in the darkroom, our first assignment was to hand cut our 35mm negative carriers out of matt board so that the whole frame of our printed work was presented within the grindy uneven frame of the carrier, sometimes showing portions of the sprockets. (I kept that negative carrier and when I later moved to Medium Format, I cut another neg carrier, this time in 6×6, for that very purpose.)

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This idea of framing in the viewfinder had an enormous effect on my work. It kept me looking at the frame as well as objects within in the frame, moving a step here or there to keep things out of the frame or move things into the frame.

Knowing that whatever I saw would be included in the final print, made me very aware of my subject and it’s relationship to the other objects in the frame.

Another incidental effect this would have on my work was that the edge of the negative carrier and the film frame itself worked as another frame for the image, allowing me to let highlights blow-out on the edges of an image, not having to worry about detail in a bright sky or a streetlamp, to save more important detail in the darker parts of the image. A side effect of this is that the neg carrier became part of the image itself. This would also tune me into experimentation with frames within a frame (the jagged neg carrier would become the frame of the frames within the frames.).

I was working for a media firm in Alexandria, VA. One of their clients, a group that certified sustainable forests, needed images for a new campaign and website. My boss VC1had seen my work on Flickr and asked me to shoot some images of old growth forests and executives in those forests. He told me that he liked the “old-timey” look of my work.

When I started to explain what I would like to do, he stopped me and said, “I don’t understand a word of what you’re saying. Just do whatever you need to do and show me when it’s done.” The only stipulation he added was that he wanted me to take the digital Nikon to shoot backup images of the portraits, just in case. I walked away from that conversation knowing I had the Holy Grail of assignments. It would be one of the best photo experiences of my professional photographic life. The Film tally of that project was: 120mm Tmax 400, 120mm Ilford Delta 3200, 120mm Portra 400 NC, 120mm Portra 400 VC, Polaroid 690, Polaroid 3000 BW , Minox 400 colour, Minox 400 BW, 35mm Portra 400 NC, 35mm Tmax 400, 35mm Tmax 3200. Cameras used: Canon A-1 (28mm 2.8, 50mm 1.4), Canon T-90 (wide zoom), Pentax K-1000 (with a screw-mount East German 400mm f5.6 lens for portraits), Minox B, Holga, Holga fitted with a pinhole, Polaroid 200 Land Camera fitted with a pinhole, Nikon Digital (kit lens)

The first leg of the trip was to Shenandoah National forest. I was awestruck by the size of some of the trees. I came back with several amazing images. I had them scanned by another photographer I knew. This was one of my first experiences with a hybrid process (capturing on film and finishing digitally).

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The second leg of that trip would be to a National Forest outside of Vancouver, British Columbia. Words fail to describe the beauty I captured there. For the post on this series of images I purchased an Epson Perfection V750 scanner and a wet-scanning kit, as well as several film holders and ANR (anti-newton ring) glass. The library of images for this job was as vast as it was varied. I loved using the different formats and films within the same project and the results were great.

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How did you get involved with PONF? 

I contacted Rafaello through Instagram when I saw one of his first posts about the project. I told him that I wanted to talk to him about what he was doing and that I’d like to test the camera and help him refine it. We met at a café in Edinburgh for a ‘quick chat’ that ended up being a 2½ hour in-depth conversation about what we loved about film photography, cameras and lenses.

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Tell us about your role with the project.

I will be one of the very first testers of the camera, sharing my work along the way, and also will play a key role in the PONF Foundation with a focus (pun intended) on education. I will be co-writing educational materials and leading courses on photography available to members of the PONF Fellowship.

I am very excited to introduce this camera into the world and I’m looking forward to helping new photographers make the most of the PONF system. My personal goals for this project are to get more people shooting and help young photographers to gain enough experience to be able to shoot with intention.

What I mean by this is to visualize the image that you are after and using your knowledge of what your camera, film (or sensor) and chemistry can do, and more importantly they can’t do.  With this level of understanding of your tools, you can more easily make the images you want rather than hoping for something amazing to happen.

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What are you interested in besides photography?

As a filmmaker and photographer, my vocation and my hobby have joined forces to destroy me.

Let’s end with your advice to another photographer but with a twist: Ten words or less or a Haiku.

Know All Of Your Tools

Always Shoot With Intention

Go! Make Images

Thanks Gregg! To follow Gregg’s work, you can check out his wet plate website, Dark Box Images, his commercial photo/video website, Blue Box Images, or you can follow him on Flickr or Instagram. Stay tuned to learn more about the team here at PONF, and the development of the world’s first multi-back 35mm film and digital camera.

A Weekly Update – Big Things Ahead!

Hello from the team at PONF! We hope everyone is doing great, and that you’re shooting lots of photographs, wherever you are in the world. We have a lot going on behind the scenes right now, and lots of exciting developments to the camera which are right around the corner, so grab a cup of tea and prepare to get excited about the best camera ever, coming to life very soon!

How soon, you may ask? Well, we are pleased to tell you that the very first PONF Camera will be on the market in mid 2018, with presales opening sometime in the second quarter. This means that this year, directly from the PONF website, you’ll be able to exactly customize your camera, making it unique and personal to your needs with our configurator tool. We’ve got plans for both SLR and Rangefinder PONF Cameras…let us know below in the comments which you’d like to see first.

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As you probably know, PONF is Photography On Film. We have no shortage of ideas for ways our beloved camera will be adaptable for the different films you love. 35mm is just the beginning; by 2019 we plan to create backs to accommodate instant film, 120 film, and large format sheet film. The fearless PONF Camera will allow you to seamlessly shoot multiple formats, making the most of an analog shooting experience.

On the digital side, the PONF camera takes full advantage of sleek, state of the art tech. The digital back will be powered by the powerful, endlessly customizable RaspberryPI Compute Module 3, and will feature Sony sensors, your choice of APS-C or Full-Frame. By 2020 the system will also have a 6×6 digital back, for mind blowing detail made possible by the medium format sensor. We are also developing high quality optics, based on our favorite legacy optics from the years, lenses made with image lovers in mind. This complete system is made to work with your images in a complete workflow, from the snap of the shutter to the scan of your negative and everything in between.

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What is possibly more exciting than the hardware of the PONF camera though, is what we’re planning to do with it. The customization of the digital back will allow each photographer to set up the critical functions of the camera in the way that suits them best, including creating extra accessibility where it’s needed. The camera can even be programmed to connect to and control drones, audio equipment, and more. With integration into the Internet of Things, the camera will have the capability to sharing and backing up directly to the cloud. Video and digital stills are effortless and intuitive because of all of this. There are huge technological and usage implications in this brilliant marriage of expert IT and a deep love for photography in its essence.

Ok, I get it. It sounds fantastic, and perhaps too good to be true. You’ve maybe heard about projects like PONF before, proposing a mythical, modular future for photography but a camera never coming to fruition. We are promising that this is different, the beginning of a new kind of camera company.

We are founding the PONF Fellowship and Foundation for Photographic Education, in which we will feature original courses, lessons, photography exercises (from basic analog to advanced digital to alternative processes and beyond!) made by our partners, photographers working both in the field and in academia. PONF strives to be a happy exchange of knowledge and expertise to invigorate photography and inspire the generations of photographers in the future. We are looking for a community that share the same values and dreams.

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Tirelessly in literally hundreds of hours in meetings, we are now working on the creation of a community of companies, individuals, universities, R&D institutions to improve the knowledge about photography available and improve the quality of the projects we work on. It’s about cooperation, not competition. Our team is made of experts with nearly a combined century of experience and spanning generations, all with a love of this medium which spans a time nearly half the life of photography itself. That’s how you know it’s serious. We are here to make something meaningful.

Like I said, a lot is happening behind the scenes, it’s happening really fast and we are all very excited to report that the progress on this project is steady and very positive. Sign up for the newsletter, tell your friends, write your favorite journalists, let us know your feedback. Our next big announcement comes February 15, but we have more awesome content planned before that. Thanks for reading. Now, go take pictures and don’t forget to label your film rolls.

Katherine

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