Yesterday, Apple announced the new 16-inch MacBook Pro featuring a processor with up to 8-cores, 64GB of memory, a new AMD Radeon Pro 5000M graphics card, and an astonishing 8TB SSD drive with up to 8TB. Let’s take a closer look at Apple’s most powerful laptop ever for creatives on the move.
16-Inch MacBook Pro For Creatives
There were a lot of rumors online about it, but the wait is finally over: yes, the 16-inch MacBook Pro is real. This new model is currently Apple’s top-of-the-line laptop, and it replaces the actual 15.4-inch MacBook Pro.
This 16-inch MacBook Pro features a Retina display with a maximum brightness of 500 nits, similar to previous models. The resolution of the screen is 3072 x 1920, with a pixel density of 226 PPI, and it covers the P3 wide color gamut. So this new model is 0.6 inches larger, but most of the magic happens inside. They made the screen bezel larger without increasing the footprint of the laptop, thinning out the black border around the screen.
Image credit: Apple
16-Inch MacBook Pro Features
You can now configure it with an 8-core Intel i9 9th-generation processors with Turbo Boost speeds up to 5.0 GHz. According to Apple, these new CPUs are up to 2.1 times faster than the previous models. More CPU power means more heat, and Apple redesigned the thermal design on the inside for better cooling performances. Let’s now hope that this redesign will avoid CPU thermal throttling which was a problem encountered with the previous generation.
Image credit: Apple
Also, the 16-inch MacBook Pro is the first Apple laptop that you can (finally) max out to 64GB of RAM. This is no secret that video editing software, in general, is memory hungry, and the more RAM you have, the better it will perform.
On top of that, you can configure the laptop with up to 8TB of internal SSD storage, which is a world premiere. On the other hand, this storage upgrade will set you back an additional $2.200.
Finally, on the graphics side, you can upgrade the new AMD Radeon Pro 5000M graphics card up to 8GB of GDDR6 VRAM. This new AMD graphics card is “up to 80 percent faster in DaVinci Resolve compared with the Radeon Pro Vega 20,” according to Apple. Video Software that relies heavily on the GPU should benefit from a significant power boost.
Image credit: Apple
If It Works, Don’t Fix It.
Well, it seems – after multiple iterations – that Apple has given up on the butterfly keyboard design. The keyboard of the 16-inch MacBook Pro features a “classic” scissor-switch Magic Keyboard. According to Apple, this mechanism delivers 1mm of key travel and incorporates a rubber dome that stores more potential energy for a responsive keypress.
On the keyboard side, a physical escape key is back next to the Touch Bar. The 16-inch MacBook Pro features a new 100Wh battery – the largest ever in a Mac laptop — that offers up to 11 hours of battery life, according to Apple. 100Wh is also the limit you can bring on a plane, so Apple is maxing that out.
Image credit: Apple
The 16-inch MacBook Pro features a six-speaker sound system and “studio-quality” microphones. On the side of the connectors, nothing changes; there are still four Thunderbolt 3 ports and a headphone jack. Don’t throw out your multiple SD/HDMI/USB-A adapters just yet!
Price and Availability
The 16-inch MacBook Pro “base model” starts at $2399. It comes with a 2.6GHz 6-core Intel i7 CPU, an AMD Radeon Pro 5300M GPU with 4GB of GDDR6 memory, 16GB of DDR4 RAM, and a 512GB SSD. The maxed-out model will cost you over $7000 for some mind-blowing specs in a laptop. It is available in silver and space grey colors.
It’s available for preorder now in the US and in the rest of the world, next week.
What do you think of the new 16-inch MacBook Pro? Are you considering to upgrade your current laptop? Let us know in the comments below!
At the Inter BEE show in Tokyo this week, Atomos announced a major update for the Sumo 19 – asynchronous multicam switching. This Sumo update gives their do-it-all unit just one more tool in the kit.
Atomos Sumo19 can record 4 ISO feeds and 1 program – all to the same SSD (Image credit: Atomos)
What is it?
First, some context. Atomos has been creating high-quality external recorders for some time now, and the Sumo is their largest and most powerful unit to date. It is fully HDR-ready, capable of displaying a claimed 10+ stops of dynamic range at 1200nits. It is also one of only a few devices capable of capturing ProRes RAW.
The Atomos Sumo is designed to be a do-it-all box, capable of replacing multiple pieces of hardware in the pipeline of smaller productions. “Save space by replacing several boxes in your rack with a single Sumo19,” brags the Atomos website. In terms of video feeds, it can handle signal conversions, both HDMI and SDI inputs, and record 4 ISO (isolated) video feeds and 1 stitched-together program feed to a single SSD. It can also output that program feed by either HDMI or SDI if it isn’t the final stop in your pipeline. On the audio front, it features two balanced XLR inputs, with full 48v phantom power and dedicated gain controls. And that’s all on top of being a great HDR monitor.
Atomos Sumo19 can live-switch asynchronous feeds with this update (Image credit: Atomos)
So What’s New?
So with this latest Sumo update, Atomos has set their sights on removing one more step between your cameras and your recorder. AtomOS 9.2 for Sumo 19 will allow asynchronous live multicam switching. Translation: no genlock, no problem. While we don’t know how this will actually work, we can speculate. One common practice is to hold a drifting feed in a small buffer until it falls back into sync.
But however it works, the Sumo will also record an XML file alongside the ISO and program feeds, so that everything can be brought straight into your NLE of choice with all of your edits in place. For that matter, it can even track whether you used a hard cut or a dissolve in the live recording, both of which can be configured to either a single- or a double-tap.
These updates, on top of the already-existing features of the Sumo, make it an incredibly useful tool for any multi-camera production, live or not. Atomos continues to put powerful tools in the hands of filmmakers who wouldn’t have had access to them before. The update is available for download now.
The new Sumo19 asynchronous switching function is on display in the Atomos booth (Hall 8 #8401) at Inter BEE 2019 in Tokyo, Japan (Nov 13-15, 2019).
What is your multi-cam workflow? Would this feature tempt you to buy a Sumo? What is still missing? Let us know in the comments!
Blind Spot Gear, the British company specialized in niche products for filmmakers, just released its 7th Kickstarter campaign: the Power Cage & Bracket. This 10.000 mAh power bank with 45W of power output is designed with filmmakers in mind. The Power Cage features two USB-A ports, a USB-C port, and a 7.2V DC barrel to power your camera and your accessories. Let’s take a closer look at it!
Blind Spot Gear
Blind Spot Gear is a British company well-known for launching innovative products on the market via Kickstarter campaigns. Earlier this year, they successfully launched the Crack Light. In the past, they also released the Scorpion Light V2, the Tile Light Duo, and the Power Junkie – you can watch our review here – which is a tiny and convenient Sony NP-F style batterie distribution box.
Nowadays, cameras and accessories require a lot of power to run for hours. Small internal batteries don’t get the job done; this is especially true with the Blackmagic Design Pocket Cinema Camera 4K and 6K, Sony mirrorless cameras, and so on. To solve that problem, you can run your camera and accessories with a V-Mount or Anton Bauer battery. But, this kind of external power source is expensive and quite bulky.
So, if you don’t want to rig your camera fully or don’t have access to this kind of power solution, you often end up with Frankenstein looking camera rigs. I often see regular power banks velcroed on the side or on top of a camera to power it. This is not an ideal solution for filmmakers in general, and especially in run and gun situations.
We can say that Blind Spot Gear knows how to launch and handle a Kickstarter campaign, and today they are back with a new battery solution for filmmakers: the Power Cage & Bracket.
The Blind Spot Gear Power Cage and Power Bracket are two different products that you can combine to work together. Regular battery banks are not built to work with cameras; they lack 1/4″-20 and 3/8′-16 mounting points and relevant outputs.
Image credit: Blind Spot Gear
The Blind Spot Gear Power Cage features two USB-A 5V output ports, a USB-C output port that is also used for charging it, and a 7.2V DC barrel. Also, there is an on/off/mode switch. You can use all ports simultaneously up to 45W to power your camera and accessories. On the inside of the Power Cage, there is a 10.000 mAh/37Wh battery, which is the equivalent of five Sony NP-FW50 batteries. Finally, you can charge the Power Bank up to 80 percent in just 60 minutes.
You can mount the Power Bank directly on your camera with a 1/4″-20 to cold-shoe adapter. Image credit: Blind Spot Gear
On the side of the Power Cage, there is a remaining charge indicator that doubles as an overload warning indicator. It is even possible to charge your laptop via the USB-C port (up to 30W).
Image credit: Blind Spot Gear
On the front, there is a built-in nato rail that features six 1/4″-20 threaded holes and an eyelet neck strap. Additionally, there are eight 1/4″-20 threaded holes on both sides of the Power Cage. All these mounting points allow you to mount the Power Cage directly on your camera if you don’t want to use it with the Blind Spot Gear Bracket.
There is a built-in nato rail in front of the Power Bank that features six 1/4″-20 threaded holes. Image credit: Blind Spot Gear
The Power Cage features a CNC machined aluminum shell to protect the internal battery. I would have preferred an all-aluminum design, including the top and bottom parts that are made out of plastic.
If you want to mount the Power Cage directly to your mirrorless/DSLR camera, there is an optional Power Bracket available.
If you use Arca Swiss quick release plates, the Power Bracket features a built-in Arca Swiss mount. Otherwise, I use Kessler’s Kwik Release plates, and I would have loved to have the integrated Arca Swiss mount of the Power Bracket in the other direction. Usually, Arca Swiss brackets “on the side” are more for photo shooters. In the video world, this kind of sideways design makes it impossible to adjust your camera back and forth on a tripod or gimbal, which is a must-have for balance purposes. Thankfully, there is a lot of 1/4″-20 threaded holes at the bottom of the Power Bracket so you can attach any quick release plate you have.
Image credit: Blind Spot Gear
Finally, the Power Bracket features two additional lanyard points to carry your camera.
Pricing and Availability
For Kickstarter backers, the Blind Spot Gear Power Cage retails for $114/£89. The Power Bracket will cost you $38/£30. If you want to get both, bundles are available for $127/£99. The expected shipping date is set for May 2020.
Even if Blind Spot Gear always delivered its products on time with its Kickstarter campaign, as always, please be aware that this is a crowdfunding project and not a retail shop, so do your research accordingly. cinema5D does its best to share only the projects that look legitimate, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
Artisanal scented candles. At-home spa treatments. Really nice socks. They’re the kinds of things we could buy for ourselves, and they’d probably be really nice to have. But they’re just barely on the wrong side of the practical/frivolous divide, so we keep making do with mediocre socks. This, my friends, is the Gift Zone: items that have practical use, but are luxurious enough that the recipient probably wouldn’t buy them for themselves.
If you’re shopping for a photographer and are looking for something a little special, something in the Gift Zone, you’re in the right place.
Wrist straps are great. Should you dangle a whole DSLR from your wrist? Definitely not. Instead, we like them for those in-between times – when you’re not actively shooting, but want your camera in hand and at the ready. A quality wrist strap provides a little more security and support in those moments.
The Peak Design Cuff does all of these things, and is definitely nicer than the wrist strap that came with the compact camera you bought in 2007. It uses the company’s Anchor Links to attach easily and securely to a camera, and a metal loop can be used to cinch the strap tighter to the wearer’s wrist.
If the Digital Storage Police ever busted DPReview headquarters they’d find plenty of criminal offenses, like loose memory cards tucked into dusty desk drawers and backpack pockets. There’s a better way. An SD card wallet is a small step toward better storage organization, or a nice companion to an already functional digital storage workflow. Plus, it looks fancy. Cecilia is one of our favorite camera strap makers, and its leather SD card wallet looks snazzy in black, brown or charcoal.
Anyway, please don’t call the Digital Storage Police on us. We’re serious.
A camera cube will turn just about any larger bag into a camera bag, which is handy; sometimes you need your camera but don’t want to carry an actual camera bag. Topo’s camera cube is just right for the job – it’s durable, big enough to hold a full-frame mirrorless camera and lens, and fits like a dream inside a full-size Herschel Little America backpack. It even ships with a shoulder strap if you want to use the cube itself as a bag.
Photographers are often also travelers, which means there’s a high probability that they stuff a lot of cords and small personal items into Ziplock bags four hours before they fly anywhere. A set of travel pouches won’t make them a more organized person, but it will conceal a mess of chargers and power adapters in an attractively-designed vessel.
See previous note about photographers also being travelers. The 5-in-1 adapter stacks into a neat package and includes a color-coded guide indicating which plug is used in which country. Plus, the ‘fifth’ functionality is a couple of handy USB ports, which is useful no matter where you are on the globe.
Enamel pins are enjoying a real resurgence in popularity these days. Pretty much any pop culture object or character has been enamel-pin-ized, so it should come as no surprise that you can find a pin that pays homage to your favorite vintage camera or film stock. We knew we could count on you, Etsy.
Books? Books! Help bolster a New Year’s Resolution to reduce screen time by providing an alternative: a coffee-table-worthy photo book. If you’re unsure of where to start, head for the classics like Walker Evans, Dorothea Lange and Vivian Maier. National Geographic is another safe bet – its curated collections rely on decades of world-class photography.
We weren’t kidding about the really fancy socks. Would any of us spend $30 on a single pair of socks? Heck no. That’s why they make an ideal gift. For a photographer, getting the shot can sometimes mean getting yourself into environments that are cold, or wet, or an unpleasant combination of the two. A good wool sock is essential, and Filson’s thermal socks fit the bill.
Wireless video transmission has replaced a good amount of SDI cables on film sets around the globe by now. It’s reliable, delay-free and it used to offer decent 1080p quality. At this year’s NAB show in Las Vegas, Teradek introduced their new line of Bolt 4K wireless video transmitters and receivers. Among them: the ultra-performing Bolt 4K MAX – which is now shipping.
4K 10-Bit 4:2:2 zero-delay HDR wireless video up to 5000ft, that’s the promise if you implement the Bolt 4K MAX system to your workflow. That sounds a bit like pushing the laws of physics but I must admit, it seems to be a very capable setup even for the most demanding setups. The MAX is, of course, the flagship product in the Bolt line of wireless video systems by Teradek and you get what you pay for.
Teradek Bolt 4K MAX
Teradek offers a kind of modular system in order to build your very own Bolt 4K MAX setup: both the transmitter and the receiver sport multiple antenna ports which you can fit with either vertically polarized omnidirectional antennas (“V” Antennas) or, in order to improve range and signal strength, you can attach two so-called horizontally polarized omnidirectional antennas (“H” antennas) to the outer ports of each device.
To really push the system to its limit (and to the advertised 5000ft range) you’ll need an external dish antenna array to which the receiver module attaches. You’ll have to equip that receiver with a dual battery mount for this to work. For more in-depth intel about the correct choice of antennas, head over to Teradek’s knowledge base article here.
The whole Teradek Bolt 4K MAX system is a no-compromise version of the company’s already very capable Bolt 4K line of wireless video systems. It really is MAX in range, MAX in performance and, you guessed it, MAX in price.
In terms of connectivity, the Bolt 4K MAX offers 12G-SDI and HDMI 2.0 inputs plus a loop-through 12G-SDI out on the transmitter and two 12G-SDI outputs plus an HDMI 2.0 output on the receiver unit.
Cross-conversion from HDMI to SDI is built-in and signals up to YCbCr 4:2:2, 10-bit/ HDMI: RGB 4:4:4, 8-bit can be processed with virtually zero-delay from TX to RX modules. When using SDI as an input, Bolt 4k MAX can transmit metadata, timecode, and start/stop flags from most camera manufacturers as part of the data stream.
The 4K MAX can handle HD, as it can handle 4K. The following resolutions are being supported:
You also can cross-convert incoming HD to output 4K on the receiver or vice-versa, if your attached monitor can’t handle 4K resolutions. Embedded audio is supported too, up to 48kHz 24-bit PCM can travel alongside the video stream. In broadcast mode, a single transmitter can broadcast to multiple receivers and each RX unit can cross-convert the incoming signal to match the device downstream. You can control each device directly on the unit or by using the dedicated Bolt 4K app.
Both, Gold mount and V-mount versions are available.
The Teradek Bolt 4K MAX system leaves nothing to be desired but all that functionality comes at a premium and you’ll need (very) deep pockets to get it. Maybe one of the other tiers, such as the Bolt 4K 750 or the 1500 (feet, that is) might be a better, as in slightly more affordable, choice. But if you just want it all, a non-compromise powerhouse, the 4K MAX is for you!
The Cadrage app, a premium director’s viewfinder for iOS, has been re-designed from the ground up to be a key part of a filmmaker’s pre-production process.
Cadrage App Overview
Cadrage is, at its core, a director’s viewfinder app. You choose your camera, your lenses, and your recording format, aspect ratio, etc. Then you can take either photos or videos that accurately simulate the framing and field of view you will have on the day of the real shoot.
And while Cadrage has an excellent interface for that and a plethora of features on that front, what makes it exciting is everything else they’ve laid on top of that solid foundation since their last major update.
Lens and Camera Selection
When you first open the app, Cadrage prompts you to select a camera and a lens (or set of lenses). You can pick from generic primes or zooms at typical focal lengths, you can add your own personal kit, or you can choose from a surprisingly large database of lenses. The selection ranges from Canon L zooms to ARRI/Zeiss Master Primes, with all sorts of anamorphic and oddballs in between. Once you have selected your kit, you can toggle between them on the fly to frame your scene exactly right. And if you swipe left on the screen, you can also find intuitive exposure, focus, and white balance controls to help you dial in the image you want. They also support third-party iPhone lens adapters, such as the Schneider iPro or the Moment lenses.
Organizing your shots in the Cadrage app is a breeze. You can create different “Projects” to collect and sort your shots, and “Scenes” within those. Here, you can tag and title photos, see their geolocation, add notes, and more. It’s great to be able to track and sort your findings right there in the app, without needing to export to a computer first. This isn’t a headline feature, but it’s an important one.
This is the big one. The Cadrage app now includes a color-grading feature, where you can create looks with a surprising amount of sophistication. The selected look is then applied directly to the viewfinder, helping you visualize your location with a better approximation of the final image you will get. Several looks are included, but the real treat is to build your own.
When you are ready to share, Cadrage has you covered as well. From within the app, you can share individual stills or a shotlist in PDF format, with all of your notes, scenes, and metadata right alongside. This clean, detailed format is perfect for sharing with clients, crew, or producers. Doing it all within the app saves time so you can get back to shooting. Cadrage has worked hard to get out of your way and let you make the films you want to make easily and quickly.
You can get Cadrage from the Apple App StoreHERE for $19.99. For more information, visitwww.cadrage.at.
Nearly three hundred years ago, Elena Anosova’s ancestors journeyed from their small settlement in the Nizhnyaya Tunguska river, in the extreme north of Russia, to the taiga—the forest of the subarctic region found in the heart of Siberia. Hunters by trade, they came to colonize Serbia and soon assimilated with the Evenks, one of the indigenous peoples of the Russian North, founding a small village in the taiga. Shaped by a harsh climate and a remote geographical location, the village developed a unique way of life, grounded in a bond between man and nature—one that continues to thrive. Life in the village has barely changed in centuries.
Having grown up in a big city, Anosova’s encounters with her heritage happened mostly through stories and summer visits from her family. ‘Out of the Way’ marks her discovery of the village, its distinct myths and traditions and the 100-odd people who live there—all of whom are distant relatives of the photographer. Documenting the day-to-day of village life and the harsh and beautiful landscape that it unfolds in, Anosova builds a portrait of a strong community that has managed to hold on tightly to its identity as the world around it changes rapidly.
In this interview for LensCulture, Anosova speaks about ‘writing’ her family story, the connection between humans and nature central to village life and what keeps microcosms like this alive in the age of globalization.
LC: Out of the Way seems to be one of the most personal projects out of your work. How and when did the project start? Did it grow out of any previous projects?
Elena Anosova: To be honest I wouldn’t say that this is the most personal project of mine. It is less personal than Section, in which I explored the lives of women in closed institutions, a familiar traumatic experience. After I had finished Section, I went to the village for a break and to feel close to my routes. In the tungus language, the name of the settlement means ‘The Isle’. After spending some time there, I decided that I need to go back.
LC: What drew you to start exploring this village and your family there? Do you have a close relationship with the place already or did the project mark the beginnings of your relationship with it?
EA: I had never visited it before 2015 but I had seen pictures and read books about the place. There is a famous book with a movie adaptation called Ugryum-Reka (roughly translated as Ugryum River). It is a family saga, set in Nizhnyaya Tunguska against the backdrop of the Siberian Gold Rush. I also listened to many stories from my relatives, and from my dad in particular—he was born and raised there. After spending some time there, I felt the desire to ‘write down’ the story of my family, and the place, in some way. There is a tiny local museum in ‘The Isle’ and in the beginning, I decided to collect archival pictures from locals for the museum. While doing that I understood that this story is universally relevant, making us question who we are and where we come from.
LC: What is your relationship between your close family and these relatives?
EA: I grew up in Irkutsk. It is a big city by Lake Baikal, around 1000 km away from The Isle— which is relatively close in Russian terms. Our relatives from the village would visit us every summer, to see a dentist, for example, and do some shopping. Many decided to stay in Irkutsk later. In Soviet times these summer trips were more affordable than now, which is why they could visit. My cousins would make fun of me, because I was a ‘city girl’ and had never seen a bear in my life.
LC: The distinct atmosphere of the region is very striking in your photographs. Can you give me a sketch of the geographical location of where you were working, and tell me a bit about the history of the region and how this has moulded the kind of place it is.
EA: These places are hard to access and are underpopulated. The nearest small towns are around 300km away by a ‘winter’ road—one that is available just 3 months a year, from December to March. It is a mix of mud and ice. In the summertime, access is only possible with a helicopter. The village was founded by the Tungus people, more than 300 years ago. Later, the Russians arrived and assimilated into the village. They started to grow wheat along the river banks and hunt.
During Soviet times, there was a collective farm in the village and all the inhabitants had to work for the government. People from neighboring villages had to move to ours, to work in the collective farm, abandoning their own. We still sail up the river to these places to look after our ancestor’s graves. Also, at that time, geologists had been searching for natural resources in the area. They found diamonds in Yakutia, which is nearby. Today, gas and oil are produced in the region, which is slowly destroying the fragile ecosystem. So basically the village is inhabited by descendants of the Tungus people, Russians, and geologists.
LC: How do the extreme weather conditions shape the daily routines and culture of the region’s inhabitants?
EA: We say that a Siberian is not someone who doesn’t feel cold, but someone who is dressed properly. Life in these extreme weather conditions requires constant movement, so everyone keeps busy all the time. It means hunting, fishing, agriculture—using greenhouses with heating inside. Preserving food for winter is quite an activity. Dumplings, pirogi, sour cabbage. People also collect mushrooms and berries. One can make home ice cream. It is quite an easy recipe when it’s between minus 30-45 degrees celsius outside.
LC: How did you try to capture this specific way of life in your images? What kind of story did you want to build?
EA: Using family archetypes in my work, I hope to create interest around other people’s family histories, archives and look into these questions: Who are we? Where do we come from? How can micro-communities like this one survive without globalization? There are only a few places in the world like this. Perhaps they can keep their identity because they are so far away, difficult to access and don’t welcome strangers?
LC: Tell us a bit about the cultural make-up of the region.
EA: Most of us have mixed blood. Some have more of visible Tungus DNA, and some less. For example, I am the first one in my family who has blond hair and fair skin. There are a lot of mixed marriages that happened throughout generations and they are accepted without prejudice.
LC: Animals seem to have a very important position in the project. Can you tell me a bit more about the different roles they play in the region.
EA: The dog is seen as the best friend, a family member and a partner. There are a lot of wild and dangerous animals in the area. They have become more dangerous as their natural habitat is disrupted by the production of oil and gas and their behavior is unpredictable at times. Wolves and bears can attack people and domestic animals. The dog will protect and help no matter what. They are specially bred and trained for that. If someone gets lost in Taiga, the snow forest, the dog knows how to bring them home. It is a tragedy if the dog dies. When there are no roads during summer, fall and spring, people use horses, to get to the hunting lands, for example. Our family’s land is 70km away, farther in the taiga. If we are talking about wild animals, the region survives by hunting the elk for food, and sable for fur.
LC: There are about 100 adults living in the village. What kind of work do they do?
EA: There is a school, a kindergarten, a paramedic, a ranger, a fireman and a post office—and also a tiny diesel electricity station. All the buildings need to be heated twice a day hence everyone is constantly busy producing wood. And most of the men in the village are hunters. In terms of leisure, there is a local community center, a museum, and a library. Locals produce their own shows in the club.
LC: What happens to the youth of the region? Do many people move elsewhere or is it custom to stay and settle within the community?
EA: After finishing school, by the age 15, many leave the village to go study either in the towns around or Irkutsk. After finishing their education some do come back and teach at the local school, for example. The ones who do are really attached to the place and the lifestyle and they sincerely love it. In how many schools around the world can you get skiing classes, or learn to study the traces of animals?
LC: You mention the myths of the region are almost a stronger influence than modern life. Can you tell me a bit more about this relationship? What is the interaction between this small community and the way the world is developing technologically, politically, socially?
EA: They really are. In fact, it is enough material on that for a whole book that I am working on now. But to give you just one example, according to the legend that is especially important to my family, the wolves are scared of fire. The modern interpretation of this myth is expressed by putting a scarlet ribbon on the dogs in case they might be attacked by wolves. When I wondered about this and asked my uncle why he does it, he told me that this is what our grandfathers used to do and it worked. Why question it? I get scared sometimes that it all might change with new technology. They now have internet and social media. But, the usage is limited, from 8 a.m. until 12 p.m. and the speed is very slow—hopefully not enough to get addicted.
LC: Your project also contains archival images. Can you tell me a bit about those?
EA: I started my project by collecting the archival images from locals, so I have quite a collection. I have a set of amateur photos of hunters that cover several generations—just men posing with rifles in the snow. But one of my personal favorites is the image I discovered from the family archive of my dad’s classmate that depicts my super distant relatives relocating from the neighboring village to ours by literally moving their whole house on a floating boat. I love this image so much.
LC: The project is ongoing, and you’ve been working on it for quite some time. Have you witnessed any changes in the community over the period you’ve been working there?
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