📖 English

Most people dread receiving their monthly electric bill. For a Colorado Springs man named Thomas, however, receiving his first utility statement in his own name was cause for celebration. After six years living in a tent on the streets, Thomas now has an apartment, a job, and a piece of mail worth framing.

Through a decade of work with Springs Rescue Mission, Thomas’ is just one of the many stories of transformation that photographer Aaron Anderson has documented in an ongoing project capturing hope and recovery. Full disclosure: This article was brought to you by Tether Tools. Tether Tools, whose gear Anderson relies on for his tethered workflow, saw the mission behind Anderson’s project and stepped in to help make it happen.

The company provided the gear support needed for the on-location shoots and has used their social media accounts to share the stories of Anderson and Thomas with the photography community. “That bill is proof Thomas exists in the system again,” Anderson says. “He has an address. His name is on something official.

It represents independence, identity, and a life rebuilt from nothing. ” As a commercial photographer, Anderson was eager to tell that story visually. “I had Thomas stand before a painted backdrop that I had positioned under an overpass he once walked through daily when he was homeless,” he explains.

“The separation between him and the environment is intentional. It’s a way of showing someone pulling themselves away from hard circumstances and into something new. I didn’t want to just capture a portrait. I wanted to capture Thomas’ transformation. ” Anderson’s path to photography was anything but conventional.

Before picking up a camera in his late 20s, he cycled through over 20 different jobs: car washes, fast food, scuba diving instructor. He recalls that the common thread was always people. “Every job I’ve ever had, I was really just looking for a way to spend time with people and get paid for it,” Anderson recalls.

“Photography wound up being the perfect career for my passions and personality. I sit down with subjects for hours before we ever take a picture. I love hearing their story, and trying to honor it through my photos. ” Over his 12-year freelance career, Anderson has worked with companies like Sony PlayStation, Monster Energy, Sports Research, and Bosch, but passion projects like Springs Rescue Mission carry a deeper weight.

Anderson comes from a family that has lived through addiction firsthand. “My dad dealt with addiction for most of his life, though he’s been sober for a long time now,” Anderson shares. “I watched one of my uncles recover from heroin at our property. So when I photograph people coming out of addiction and homelessness, it’s personal.

I’ve seen what these situations can do to families, and I have also seen the pride that comes with recovery. ” For Anderson, it’s the personal connection that draws him back to passion projects in the middle of an often chaotic work schedule. “There’s a heroism in people’s stories that we don’t often get to see,” he notes.

“So many inspiring stories just aren’t being told, but photography is a tool to change that. ” “A camera opens doors you’d never have access to otherwise,” Anderson reflects. “It allows you to walk into places, talk to people, and experience things most people never see. However, with that access comes responsibility.

It’s not really about the photography itself. It’s about turning those stories into something other people can experience and learn from. ” This isn’t Anderson’s first time working with Springs Rescue Mission. In 2016, he launched a project called Periphery, photographing people who were in the middle of experiencing homelessness.

“The goal was humanization,” Anderson says. “I set up a simple studio at the Mission with a single light and backdrop. I spent about 30 minutes with each subject, the first 25 of which were just us talking over coffee and snacks. After I learned their stories and they felt comfortable, they would spend only roughly five minutes in front of the camera.

I knew that, any more time than that, the discomfort of being the center of attention might creep in, so I learned that the 25 minutes of casual chat was critical to capturing their stories in a photograph. ” The resulting portraits were printed at 4-by-6 feet and displayed in a three-month exhibition at the Colorado Springs Fine Arts Center.

A decade later, those images still appear on billboards across the city. “I was tired of seeing the same images: soup kitchens, people on the street,” Anderson recalls. “I wanted to create portraits that made people stop and notice. I wanted my subjects to feel like human beings, not just another face in the soup kitchen.

Not someone you can look away from. A face. A person.” But while Periphery focused on humanizing people in the midst of homelessness, Anderson’s new project tells a different story. “The subjects aren’t currently on the streets,” he states. “They’ve completed Springs Rescue Mission’s year-long Addiction Recovery Services program.

They have housing and jobs. They’re rebuilding relationships. The theme isn’t humanization. It’s hope and perseverance. ” For the new project, Anderson and the Springs Rescue Mission team shot at six locations across Colorado Springs, such as highway underpasses, abandoned lots, and areas frequented by the homeless community.

“These weren’t random backdrops,” Anderson emphasizes. “They were places my subjects knew intimately. ” “We also wanted locations that people from Colorado Springs might recognize, so they could see that these weren’t just stock images, but rather, their actual neighbors,” Anderson continues. “But more importantly, I wanted places where my subjects have actually slept or spent time while they were experiencing homelessness.

The idea was to show where they were then to contrast where they are now. ” “My visual approach built on that foundation,” Anderson explains. “At each location, I set up painted backdrops from Gravity Backdrops, positioning my subjects in front of them while the environment remained visible around the edges.

The effect creates a deliberate separation between subject and setting. I felt this told their story in just one frame, which is always a challenge. The backdrop represents where they’re going. The location behind it represents where they were. It’s a visual way of saying ‘this person has overcome hardship and moved beyond this place.

’” “It’s easy to look at these portraits and see a normal person. But they’ve been through hell and come out the other side. They’re recovering what they lost: family who’d written them off, financial and housing stability they might not have ever known. And now they’re actively trying to spread that hope to others.

” Each portrait in Anderson’s project carries a story of transformation. “Thomas, who was proud of receiving his first electric bill, now works at Springs Rescue Mission, the place that helped him rebuild his life, assisting others in navigating the same journey he was on,” he says. “Thomas’s story hit me hard,” Anderson shares.

“He told me he believes he ended up at the Mission for a reason. He could see his arrival at the Mission as fate, but he chooses to see it as purpose. That’s why he stayed to work there: he wanted to help others find what he found. ” Many of the program graduates have returned to work at the Mission, and Anderson sees their impact as uniquely powerful.

“Their ability to effectively help others in these situations is stronger because they’ve been there,” he notes. “They can step into someone’s life and offer hope from lived experience. No training can replicate that. ” Before entering the program, Cody’s life was spiraling out of control. He’d lost custody of his son to Child Protective Services, been in and out of jail, and overdosed on heroin more times than he could count.

“After completing the Mission’s HOPE Program, Cody’s life began to change for the better,” Anderson says. “As a dad myself, Cody’s story hit me differently,” he adds. “He got sober, moved up at his job, and got his son back. I think one thing people on the outside don’t think about is how many other lives are affected by a person’s homelessness.

Cody didn’t just change his own life. He’s giving his son a father again. He broke the cycle.” “Another man, Nick, got married to someone else from the program,” Anderson recalls. “They met at the Mission, went through recovery together, and now they’re building a life together. That’s what hope looks like and what I wanted to try to convey with my portraits.

” Several subjects brought their dogs to the portrait sessions. Springs Rescue Mission is one of the few shelters in the region with kennels, allowing people to keep their companions while receiving help. “Those dogs provided protection on the streets,” Anderson observes. “But more than that, they provided love and companionship.

When you’re alone and afraid, having a companion, even a four-legged one, helps to keep you going. The Mission understands that connection is critical to people experiencing homelessness. They don’t make people choose between getting help and their dog, and that has helped many people come out stronger on the other side.

” “These stories deserved a professional setup, not a quick snapshot,” Anderson explains. “That meant hauling a full studio setup to six locations across the city. Every location’s setup had multiple lights, C-stands for backgrounds, backdrops, my computer, camera, and props. And since I only had two days to photograph this project, that meant covering three locations across the city each day.

” Anderson’s team was small by design: three or four people total, all hauling sandbags, lights, and C-stands through areas that demanded efficiency. “We needed a small footprint,” Anderson stresses. “We were working in high-traffic areas and underpasses. We had to set up fast, shoot, and break down rapidly to stay out of the way and avoid cars driving by.

” “Under those overpasses, I could feel the traffic above me,” he adds. “Trucks shake the ground, and the engine noise is deafening. It’s loud, it’s gritty, and it reminded me exactly why I chose these spots. This is where my subjects actually lived. ” Tethering to a laptop isn’t optional for Anderson.

It’s how he works, regardless of the environment. “If there are three things I will never forget before I leave for a shoot, it’s my camera, my laptop, and a Tether Tools cable. And tethering was critical for this project, even though the locations didn’t make it easy. ” “I am not going to get to do this again,” he adds.

“I have the opportunity to capture these images this one time, and that’s it. Relying on making sure shots are winners by looking only at the camera’s LCD screen is risky. I might think it’s in focus when it isn’t as sharp as I would want it. I might think the exposure is good because the LCD screen doesn’t display what the photo will look like online.

But when I’m tethered, I can see the image clearly. I see it on screen in real time: lighting, color, sharpness, everything. I can be confident in the fact that I got the shot that I wanted. ” The backup redundancy matters just as much. “Having images on my card, on my computer, and on an external hard drive simultaneously is critical,” Anderson adds.

“I get one shot at this. When I walk away, I need to know that my photos are safe. ” The challenge was maintaining that professional tethered workflow while constantly moving between locations with a skeleton crew. Anderson turned to the Tether Tools AeroTrac Workstation System, a portable laptop mounting platform designed for photographers who need maneuverability and can’t be tied to a desk or cart.

“When I’m packing up and moving three times a day, every piece of gear needs to earn its place,” Anderson says. “The AeroTrac weighs just over 3 pounds and folds down so I can easily carry it. When it’s ready to be set up, I can mount it on a roller stand, a lighting stand, even a C-stand if that’s all I have.

It lets me keep my tethered workflow without adding bulk to an already gear-heavy shoot. It has become essential to my workflow, and I honestly can’t imagine being able to shoot as effectively as I did in these locations without it. ” Anderson also found himself using the AeroTrac’s accessories more than he expected.

“The little things became super handy,” he recalls. “The cup holder held my coffee in the morning and hard drives in the afternoon. There are magnetic clips and hooks for my tether cable. The bag that comes with it became extra storage. I was dropping lenses in there. I was shocked at how much usage I got out of such a small product and its accessories.

” On a recent commercial project, Anderson tested the same setup in a different environment. “I had the AeroTrac on a roller stand, rolling around an industrial warehouse from location to location,” he says. “I’d roll it over into a corner, back up my files, and while those were transferring, I’d be across the room setting up lighting.

Then I’d roll it back out and keep shooting while tethered. It stays out of the way until I need it. ” His approach to the AeroTrac Workstation System reflects a broader philosophy about gear. “I don’t ever want tools to be the focus of what I do,” he reflects. “My tools are there to help me create. If they’re doing that, they’re doing a good job.

The AeroTrac falls into that category for me. It makes my workflow easier and more efficient, letting me use my energy to be creative. ” “All the fancy gear in the world means nothing if the person in front of the camera doesn’t feel comfortable,” Anderson states. “I learned that lesson during the original Periphery project, and it shaped how I approach every portrait session since.

” “A decade ago during that initial project, I realized quickly that I couldn’t photograph these subjects the way I photograph paid models in a commercial campaign,” Anderson recalls. “At first, when I looked through my viewfinder, they’d look away. It wasn’t engaging at all. So I stopped putting my face to the camera.

I stood next to it, hand on the shutter, and talked to them while I shot. I made sure to make eye contact the whole time, which, I have found, is critical to making my subjects comfortable. ” Anderson describes how the shooting window itself stays brief. He spends 20 or 25 minutes in conversation with his subject first, before having them spend only about five minutes in front of the camera.

“It’s risky,” Anderson admits. “I definitely missed focus sometimes, or didn’t get the best composition. There’s one portrait that was taken while someone was telling me about their pet raccoons they’d kept while living on the streets. Another came while a subject was reminiscing about Strawberry Shortcake from their childhood.

Those unexpected moments, when someone forgets about the camera entirely, are the ones that mean the most to me. What’s in front of me is more important than what’s going on behind the camera. Being present for them is more rewarding for me than getting the technically perfect shot. For these passion projects, and even my commercial work, the personal connection is more important than the photos, but luckily, establishing that connection usually leads to great photos.

” Anderson says that the look and feel of the setup is also crucial to making subjects feel comfortable. “There’s also something meaningful about the professional setup itself,” he observes. “Lights, backdrops, a laptop displaying images in real time. For people who have spent years being overlooked, it communicates that they are important enough for me to put a high level of effort into telling their story.

That’s not about the gear. It’s about dignity.” Anderson extends this mindset to everyone he works with, not just the subjects in front of his lens. “My goal on every set is for every person to feel seen, heard, and loved,” he says. “That’s how I want subjects to remember their time with me. Not as the person who took their photo, but as someone who made people feel valued.

” Anderson sees this project as part of something larger than any single portrait or exhibition. It’s an expression of what he believes photographers are called to do. “I believe we need to use the skills and talent that we’ve been given to help other people,” Anderson reflects. “Photography is both my skill and my passion.

It’s my language and how I see the world. And I believe I have a responsibility to use it for more than just commercial work, as photography is one of the most powerful and effective storytelling forms of art. ” This conviction has shaped his career, from the Periphery project to the present. Photography, he’s found, can reach people in ways other mediums cannot.

“Art reaches across demographics,” he notes. “It’s not one political party or one worldview. It’s an image. It’s storytelling. And storytelling is something we can all get behind. It’s the oldest form of art. It engages everyone. ” The original Periphery images are still being used to help raise awareness for the Springs Rescue Mission in Colorado Springs, ten years after they were created.

Anderson hopes this new work will have similar longevity. “We’re planning a gallery show and possibly a book,” he says. “Any proceeds would benefit the Mission. But honestly, bringing awareness to the problem matters as much as the revenue. ” When asked what success looks like for this project, Anderson doesn’t hesitate.

“If it encourages one person to overcome addiction or get off the street, that’s worth it,” he says. “Or if it inspires someone to lend their time or talents to helping others. That’s worth all the early mornings, all the setup and breakdown, all the long days. One person. That’s enough. ” More from Aaron Anderson can be found on his website, YouTube, and Instagram.

Full disclosure: This article was brought to you by Tether Tools. Image credits: All photos by Aaron Anderson.

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What Hope Looks Like Photographing Recovery · What Hope Looks Like Photographing Recov

🛒 쿠팡에서 보기

📖 English

Photographer and tinkerer Robin Beerman is bringing analog panoramic photography to a wider audience with the BeerPAN, a fully mechanical 35mm panoramic SLR designed to be accessible, repairable, and eventually open-sourced. The BeerPAN is a 35mm film camera that captures panoramic 65x24mm frames, expanding the typical 36x24mm format into a wide, cinematic view.

Its waist-level viewfinder encourages photographers to compose by looking down into the frame, creating a slower, more deliberate shooting experience. “I wanted to combine two things that always fascinated me: a panoramic format made more accessible, with a waist-level viewing experience,” Beerman says.

Built with a fully mechanical film advance and shutter system, the BeerPAN uses Bronica ETR(S) lenses and metal gears to provide a tactile, hands-on feel that Beerman describes as central to the analog photography experience. A bubble level embedded in the viewfinder helps keep horizons straight, emphasizing careful composition.

The camera combines 3D-printed nylon and metal construction, with a main body consisting of a nylon frame sandwiched between two aluminum plates. Two versions will be offered: a base model with nylon plates and a premium version with anodized aluminum plates. The Bronica ETR(S) lens mount supports a wide variety of lenses, including the Bronica Zenzanon 75mm F2.

8 and 40mm F4, with shutter speeds ranging from bulb to 1/500th of a second. Designed for photographers who are drawn to panoramic photography but discouraged by the high cost of cameras like the Hasselblad Xpan, the BeerPAN also appeals to those who enjoy a mechanical system that can be maintained, repaired, and encourages a thoughtful, intentional style of shooting.

“I think like many analog photographers, once I found out about the existence of the Hasselblad Xpan I was very intrigued by the idea, but because of the cost… I simply couldn’t afford one at the time as a student,” Beerman says. “Over the years I did use a variety of different analog cameras, and ultimately fell in love with the experience of waist-level viewfinders in cameras like the Mamiya M645 and Hasselblad 500 C/M, but the idea of a panoramic camera was still in the back of my mind.

Then I came across DIY projects such as the Oxygen by Oscar (a. k.a Panomicron) and discovered that there’s a big group of people out there that are working on amazing DIY cameras, which inspired me to start working on my own camera. ” Beerman wanted to combine two elements that fascinated him: the panoramic format of the Xpan with the waist-level viewfinder of medium format cameras.

“That camera didn’t exist, so I started making it,” he says. Beerman emphasizes the tactile experience of mechanical photography as a core part of the BeerPAN. “Initially the camera was going to be fully electronic like the Xpan… Around the same time I decided to take my 500 C/M on a trip… another big part of what made me enjoy using analog cameras was the tactile feeling of mechanical cameras,” he explains.

“There’s something about interacting with a very mechanical device that feels very satisfying… So I decided to completely rework the design to be as mechanical as possible. ” The camera’s mechanical film advance and shutter systems posed engineering challenges, particularly in adapting 35mm film to the wider 65x24mm format.

“Using 35mm film for a 65x24mm panoramic format wasn’t actually that difficult, because the frame is exactly the same height as it would be for a normal 35mm camera. The only thing that changes is how far the film needs to be moved when it’s being advanced to the next frame, which is a relatively easy matter of looking at existing (non-panoramic) designs but changing the gear ratios,” Beerman says.

Beerman selected the Bronica ETR(S) lens mount for reliability and affordability. “When I started the project I started looking at leaf shutter lenses as creating my own focal plane shutter would be incredibly complex… In the end I settled on the Bronica ETR lenses and with the help of Oscar from Panomicron I figured out how to control the shutter in the lens electronically,” he says.

“The Bronica ETR lenses also aligned fantastically with my goals for the project as there’s a wide variety of focal lengths and they have great optics, but most importantly they’re relatively affordable. ” Beerman plans to release the BeerPAN’s design files under an Open Community License a year after fulfilling Kickstarter orders, allowing others to build, modify, and improve the camera.

“A year after I’ve fulfilled all Kickstarter orders, I want to release the CAD files of the camera to allow others to manufacture the camera themselves and improve the design,” he says. “Finally, I want this project to have an open flow of information that’s prevalent in the DIY camera community. For example, I’ve released my findings on how the Bronica ETR lenses work so others can learn from it.

” He hopes the camera will inspire photographers drawn to panoramic film but discouraged by its cost, or those seeking a slower, more intentional way of shooting. “A photographer that has always inspired me is Jason De Freitas… his analog astrophotography and experimental style is mind blowing to me and I’d love to see what he can come up with with a BeerPAN.

Another dream come true would be to see the Widelux master himself Jeff Bridges with a BeerPAN. ” The BeerPAN prototype is fully functional and has been tested extensively. Moving to production will involve sourcing machined parts, optimizing 3D printing for consistency, and establishing assembly and quality control procedures, which Kickstarter funding will enable.

Two versions of the camera will be offered: a base model with 3D-printed nylon plates and a premium model with anodized aluminum. Beerman expects the timeline to run from February 2026 through December 2026, with production completed and cameras shipped to backers by the end of the year. Disclosure: Make sure you do your own research into any crowdfunding project you’re considering backing.

While we aim to only share legitimate and trustworthy campaigns, there’s always a real chance that you can lose your money when backing any crowdfunded project. PetaPixel does not participate in any crowdfunding affiliate programs. To hold projects accountable, all crowdfunding campaigns on which PetaPixel reports are financially backed with the lowest tier option in order to give the publication visibility into all backer-only communications.

If a campaign owner acts in a manner inconsistent with its promises, PetaPixel will share that information publicly.

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SLR Makes Panoramic Film Photography Accessible · SLR Makes Panoramic Film Photography Acc

🛒 Amazon에서 보기

📖 English

In Tamron’s newly published FY2025 financial results, the company not only detailed its financial performance over the full fiscal year 2025 but offered key insights into its plans for 2026 and beyond, including how many lenses it plans to release in FY2026. Before diving into what Tamron says it will do next, it is worth looking at how it performed in FY2025.

The company experienced a 4% year-over-year decrease in overall net sales, while operating income decreased 13%. Gross profit also fell 5% “due to lower sales, higher raw material costs, and U. S. tariffs.” On the plus side, Tamron’s fiscal year finished on a strong note. In the fourth quarter, the company’s net sales increased 10% year over year, while its operating income rose 32%.

Tamron is an interesting lens company because not only does it produce its own Tamron-branded lenses, but it also makes lenses for OEMs, or camera manufacturers. OEM lenses have been an increasingly important part of Tamron’s photographic business. In FY2024, 45% of the lenses Tamron sold were not Tamron-branded, meaning that, of course, the other 55% were Tamron lenses.

In FY2025, Tamron sold a notably higher proportion of its own lenses, with own-branded optics comprising 59% of its annual sales, meaning OEM lenses dipped to 41%. Tamron notes that this dip aligns with its revised forecast included in the FY2025 Q3 financial results it released last November, noting that annual revenue for OEM lenses “fell sharply” year over year thanks to “sluggish sales of certain ordered models.

” What’s tricky is that Tamron never says which OEM lenses they are. Photographers are left only to guess and note certain coincidences, like the Nikon Z 17-28mm f/2. 8, 28-75mm f/2.8, and 70-180mm f/2. 8 zoom lenses that look an awful lot like Tamron’s own f/2. 8 zoom lenses. It is also entirely possible that some of the lenses Tamron makes for OEMs are unique designs, unlike anything in its own lineup.

Speaking of Tamron’s own lineup, the company notes that it launched six lenses in FY2025, including some lenses released in new mounts. Arguably, it was more like three new lenses, including the 16-30mm f/2. 8 VXD G2, the 18-300mm f/3. 5-6.3 VC VXD, and the 25-200mm f/2. 8-5.6 VXD G2. Tamron also brought its 70-180mm f/2.

8 VXD G2 to the Nikon Z mount and the 18-300mm APS-C zoom to the Canon RF mount. That marks Tamron’s second RF-mount lens, so it will be interesting to see whether the company continues that trend this year. It will also be interesting to see if Tamron returns to the Fujifilm X mount. Its last new X-mount lens, the 11-20mm f/2.

8 RXD, came out in May 2023. In any event, it was a busy year for Tamron, and FY2026 will be even busier. The company says it is targeting 10 new models in this fiscal year. Even if this counts the same lens for multiple mounts, which is expected, that would still be Tamron’s most prolific year by its measurement method in a long time.

Image credits: Tamron. Header photo created using an asset licensed via Depositphotos.

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camera · 카메라

🛒 쿠팡에서 보기

📖 English

Photographer Zachary Hou shoots film, so he decided to build an iPhone app to help him out. The new app, FilmMeter, combines multiple useful features into a single, entirely free application, and it looks as pretty as it is useful. Hou explains that his new FilmMeter app is built for an entire analog workflow.

It tracks film, offers light metering, helps photographers nail focus, has an exposure timer, and offers a film shooting log. As PetaPixel editor-in-chief and analog evangelist Jaron Schneider says, “Most apps do one of the four things this does. ” “The light meter and rangefinder combo is very nice, not to mention the roll tracking.

I like that aspect of it since it’s hard to remember if you want to push or pull a roll, or what roll was shot on what camera,” Schneider continues. “I’ve wanted something like this just for that tracking, and the way it’s implemented here is pretty to look at in addition to being legitimately useful.

” FilmMeter does a lot. Once photographers load a roll of film into their camera, they can log it in the app and keep track of which camera has which roll. The app lets users create profiles for their cameras and lenses, which they can then link to a specific roll. As for film roll management, the app includes a ton of film stocks.

The app uses the iPhone’s built-in camera to accurately measure exposure in real-time, including spot and average metering modes. The user retains full control over their desired aperture, shutter speed, and ISO. FilmMeter also supports push/pull metering. iPhone 16 and 17 users can even adjust EV using the touch-sensitive Camera Control button on the side of their phone.

There is also built-in scene recognition to help film photographers handle tricky conditions, such as backlit shots or snowy landscapes. The app has a focal length frame range from 28mm to 200mm and aspect ratio overlays for 135 and 120 formats. So photographers can meter and take a preview shot using the FilmMeter app, dial in their settings on their film camera, and then have the iPhone shot to reference later for their notes and shooting log.

Hou says that a long-term goal for the app is to let users upload their scans and have the app automatically match them with the shooting log. Every time the user meters in the app, it saves full parameters and location, which can be exported to a CSV file. The app supports ND filters for exposure calculations, ranging from ND2 to ND10000.

The app has a long exposure timer that integrates with the iPhone’s Dynamic Island, so photographers can nail long exposures without a fancy remote timer. The app will alert the photographer when it’s time to close the shutter. It includes reciprocity data for a wide range of popular film stocks, too, which helps photographers dial in the right exposure values for their older and expired film.

With LiDAR-enabled iPhone models, including all Pro and Pro Max versions since the iPhone 12, the app can also deliver ranging and depth-of-field information, including 35mm and medium-format calculations for DoF and hyperfocal distances. Best of all, FilmMeter is free. There is no subscription, and the app works entirely offline.

There are technically in-app purchases, but they are just ways for people to support Hou’s work. While the app is only available for iOS now, Hou says on Threads that he’s started thinking about an Android version, but it’ll “take some time” to make.

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🎯 Action: 관련 정보를 더 찾아보고, 실생활에 적용해보세요.

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📖 English

The U.S. Air Force has banned personnel from wearing smart glasses that have “photo, video, or artificial intelligence capabilities” while in uniform. The new dress regulation memo was circulated to airmen on January 9. As spotted by DIY Photography, the Military Times reports that the ban is over operational security concerns at military installations.

“Constant audio and video capture are a core feature of AI-enabled glasses. Even when a user believes recording is inactive, the presence of always-on sensors creates the possibility of inadvertent data collection,” writes Dana Thayer, 104th Fighter Wing information chief. Thayer notes that while the smart glasses provide “amazing convenience”, they also pose serious security concerns.

“Meta AI glasses rely heavily on cloud processing. Data captured by the device is transmitted to external servers for analysis, storage, or improvement of AI models,” he notes. “We already ban most personal electronic devices from secure areas, however, as technology progresses, so should our security policies.

Colonel Michael Glass, 104th Fighter Wing Commander, has directed the ban on AI glasses to be extended to include our civilian force as well as military members not in uniform. ” Meta’s smart glasses have been a success story from Mark Zuckerberg’s much-maligned Reality Labs division, which also gave the world the metaverse.

While the glasses made in collaboration with brands including Ray-Ban and Oakley have been a hit, the clandestine way that users can record pictures is of concern. A recent Mashable article detailed some of the disrespectful ways that people (dubbed glassholes) are using the wearable tech — often for social media clout.

One woman named Oonagh from the U. K. tells the BBC she was filmed by a man without her knowledge and consent. The interaction of the man asking for her phone number was published to TikTok where it received at least one million views. Oonagh was sent the video and says she became panicked as she read the comments — many of which were abusive.

“I know it’s legal. I don’t care,” content creator Brad Podray tells Mashable. “That’s not the discussion. I think it’s weird and creepy, and it shows a very predatory mindset. ” Image credits: Header photo licensed via Depositphotos.

💬 한글

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💡 Insight

이 기사의 핵심을 파악하고 카메라 장비 분야의 흐름을 읽어보세요. 단순한 정보 소비를 넘어 실질적인 통찰을 얻는 것이 중요합니다.

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🛒 쿠팡에서 보기

📌 결론 / Conclusion

🇺🇸 Summary

Today: 5 articles on Photo

Today’s photo-related articles highlight a growing interest in recovery photography, exemplified by “What Hope Looks Like.” Additionally, new technologies are making film photography more accessible, as seen with the BeerPAN 35mm SLR and the Free FilmMeter app, while the industry anticipates Tamron’s planned release of 10 lenses by 2026. In contrast, the US Air Force’s ban on Meta smart glasses underscores ongoing concerns about operational security in photography tools.

🇰🇷 요약

오늘: 카메라 장비 5개 기사

오늘의 사진 관련 기사들은 회복 사진에 대한 관심이 증가하고 있음을 보여줍니다. ‘What Hope Looks Like’와 같은 예가 있으며, BeerPAN 35mm SLR 및 Free FilmMeter 앱과 같은 기술이 필름 사진을 더 접근 가능하게 만들고 있습니다. 반면, 미 공군이 메타 스마트 글라스를 금지한 것은 사진 도구에 대한 운영 보안 우려를 강조합니다.