I love mysteries. As a historian I have always found the search for the evidence that would unravel the mystery surrounding a historical event fascinating. Reading mystery novels is one of my favorite pastimes. A friends, knowing this propensity, recently sent me a story that the Associated Press reported a few years ago. It’s too good not to share.
What if you could reinvent the camera? Just as all our technological tools are moving toward miniaturization and wireless connections, cameras are undergoing a makeover. Photography designers Artefact have developed the prototype, the WVIL, which stands for "Wireless Viewfinder Interchangeable Lens.”
The whole idea is that in current camera design, the viewfinder is shackled to the lens. What is the lens was in one place, but the viewfinder and controls were somewhere else, say on your computer or an iphone-type console? You could wireless adjust the lens through software, making the kind of rapid, minute calibrations that our clumsy fingers often fail to achieve.
But wait, there’s more! Why just one lens? What if you could position multiple lenses around a subject, and control them all wirelessly? Photography is then transformed to a simultaneous input 3D art.
To learn more, check out this article in Fast Company. There's a fascinating video, too. “Artefact claims that the WVIL concept is less about redesigning the digital camera as it is about redesigning digital photography itself.
"It's about defining a platform for innovation in both hardware and software -- a camera operating system," Ronning says. "We've seen the effect that iOS had on phones. Now think of what effect a camera OS could have for photography."
I can imagine, and like the fanatical iphone buyers, I would stand in line all night to buy this.
I walked into my hometown branch of the Shasta County Library on Monday afternoon. Near the front desk a colorful sign invited me to Celebrate National Library Week. As it so often happens, I missed the memo. The celebration was last week, April 10-16. But I couldn’t pass up the opportunity to join the celebration, no matter how tardy I might be
This post looks at how a memoirist approaches the process of writing about his or her life.
This post offers a look at how excellent historians have created biographical sketches to enliven figures in their books and how you can do it too.
This post looks at several answers to the question, "What makes a good memoir?"
See how working with a professional editor and book designer can give your self published book a look of professionalism.
The Black Book, a journal of political aphorisms, quips and observations from four generations in the Adlai Stevenson family demonstrates the value of journaling for family historians and memoirists.
Author Johnna Tuttle describes her experiences with writing, editing, designing, and self publishing.
"No one’s family history is compelling and interesting, until you make it compelling and interesting," said family historian Sharon DeBartolo Carmack. Absolutely! But how do you do that? One important part of the process is recognizing that there is an critical difference between genealogical research and writing a family history.
Still looking for photos to illustrate your family history book? Here are two more excellent sites you will want to visit.
This post offers suggestions of the best online sites to search for old family photos to use in illustrating your family history book.
In my last couple of posts, we’ve looked at to problem a family historian faces when trying to write a book about relatives accessible only through written records. Today we’ll look at what can be done when dealing with more distant ancestors for whom written records may be less plentiful.
Write a family history that brings ancestors to life by using facts as a basis for creative speculation. Audio examples from Paul David Pope's The Deeds of My Fathers.
Once the family historian moves beyond what direct sources can tell her the Ancestry Insider’s chasm opens. Finding stories and narrative details becomes more problematic. She must rely on indirect sources, written records. These may be obscure and difficult to locate. The other alternative, when the records don’t materialize, or never existed, may involve speculating from the historical context of the ancestor’s time and place. How does the responsible family historian who wants to stick to the facts do that?