“DataMapper is a Object Relational Mapper written in Ruby. The goal is to create an ORM which is fast, thread-safe and feature rich.” Looks very interesting; I rather like the migration-within-the-model thing (a la Django). One to watch out for.
Guest edited by danah boyd and Nicole Ellison: a special issue of the JCMC on social network sites. Must return to this, because there’s lots to sink one’s teeth into.
It’s a tracker. A tracker for Windows/OSX with VST instruments and effects support, a built-in sampler, and more. Certainly worth a play!
18 November 2007
Along the top surface of the camera is what looks like a film-advance lever: the winder you crank to move to the next shot on a film camera. Obviously, there’s no film to advance on the digital camera. But the lever still serves its other traditional purpose: it re-cocks the shutter for another shot.
I’ve marked it in the photograph below.
Initially, I thought this was another of the R-D1’s ersatz “retro” features. After all: there’s no real need for such functionality. Even the Leica M8 abandons the film-advance lever. But once I used the camera, the lever made sense to me.
Firstly: it’s somewhere to rest your thumb. That may sound like a silly thing to say, but if you’ve ever used a rangefinder, or an old SLR with a slim body and no moulded grip, the lever becomes a useful way to counterbalance the body in your hand. It’s nice to have that familiar anchor-point to rest on.
But far more importantly than that: it makes the act of taking a photograph more considered. It brings to mind one of my favourite quotations about photography, from Ansel Adams:
“…the machine-gun approach to photography is flawed… a photograph is not an accident; it is a concept.”
I love that. Photographs are not something that is taken; they’re something that is made. An image is considered, composed, and then captured. And the life of that image ends there. To take another, you must re-cock the shutter, and start again.
And so the shutter-cocking lever makes the very act of making a photograph with the Epson more deliberate. That “ersatz” retro touch is actually fundamental to the way the camera demands to be used. As a result, you end up taking fewer photographs with the Epson – there’s none of the mad “double-tapping” that sometimes becomes habit with a DSLR. It feels more genteel, more refined – and I think the pictures you end up making with it are all the better for that.