Welcome to **"Shutter Speed Shenanigans,"** the podcast where we zoom in, focus up, and sometimes completely miss the mark—just like Hasselblad did in the digital age! Today, we’re unraveling the epic tale of how this legendary Swedish camera maker, known for capturing the moon landing, found themselves stumbling through the cosmic chaos of digital disruption. Spoiler alert: It's a bit like watching someone swap their beloved vintage film camera for an iPhone... but in slow motion and with more Swedish accents.

Let’s rewind to the 1980s. Hasselblad is the king of high-end cameras, basking in the glow of their moon-shot fame. They’ve got professional photographers hooked on their slick, medium-format film cameras, and life is good. But, as with any good story, trouble is lurking in the shadows. Enter the digital age. It’s creeping up on everyone like an overexposed negative, and while other companies are starting to dabble with newfangled digital tech, Hasselblad’s execs are confidently sipping their coffee, saying, “Film is forever!”

Then Sony drops the **Mavica**, a fully digital camera that stores photos on... floppy disks? Yes, floppy disks—the same ones we used to save homework on! Hasselblad’s CEO, Jerry Öster, heads over to Japan, takes a look at this new contraption, and with a raised eyebrow says, “Nah, this is not a threat to film.” Well, in retrospect, that’s like telling Netflix not to worry about streaming. But hey, hindsight is 20/20.

By the 1990s, it’s clear that digital cameras are more than just a novelty. Hasselblad finally starts thinking, “Hmm, maybe we should look into this whole ‘digital’ thing?” They launch a little side project called **Digiscan**—think of it as Hasselblad’s attempt to dip a toe into the digital waters without jumping all in. They manage to make a digital scanner that sends photos from the 1984 Olympics back to Sweden in real time, which was revolutionary at the time. Expressen, a Swedish newspaper, loves it, but Hasselblad still isn’t sure about going full digital. I mean, they’re still holding onto film like it’s a life raft in a pixelated sea!

But soon, the cracks begin to show. Enter the 90s, and the digital revolution is in full swing. Competitors like Nikon, Canon, and even Kodak are going all-in on digital. Meanwhile, over at Hasselblad, they’ve got **Big Berta**—a digital camera prototype so large and unwieldy, it looks more like a piece of furniture than a camera. It’s basically the size of a small appliance and requires a tripod and enough wiring to run a small office. The board sees it and thinks, “Uh, this thing is a monstrosity.” And with that, the digital development at Hasselblad takes a hit. They nickname the camera "Big Berta," and it quickly becomes the laughingstock of the boardroom. Imagine being so ahead of your time that you’re, well, too far ahead for your own good!

Fast forward to the mid-90s. Hasselblad has started to realize that digital isn’t just a passing fad—it’s the future. But at this point, they’re playing catch-up in a race that everyone else has already started running. To their credit, they try. They create a digital division, roll out a few new products, and even collaborate with Philips to develop a top-notch image sensor. But here’s the kicker—while Hasselblad is slowly inching toward digital, the rest of the camera world is already lapping them with cheaper, more practical digital cameras that photographers actually want to use. Oops.

And let’s not forget **Mickey Mouse**—the digital back that Hasselblad engineers created after Big Berta’s downfall. With circuits sticking out of both sides, it looked so ridiculous that even its creators couldn’t help but give it a nickname. They attach it to a traditional Hasselblad camera, snap a few photos of the board members, and display the images on a computer screen. The board? Not amused. Turns out, executives don’t like being the subject of an impromptu photo shoot, especially when it involves a cartoonish contraption like Mickey Mouse.

By 1997, the writing is on the wall. Hasselblad pulls the plug on its internal digital camera development. The board decides that customers just aren’t asking for digital cameras yet. Spoiler alert: the customers were *definitely* asking for digital cameras. Hasselblad basically pulls a Kodak—thinking they have more time to adjust, when in reality, they’re running out of it fast.

But wait, the drama isn’t over yet! In 1998, Hasselblad begins development on what they hope will be their saving grace: the **H1**, a hybrid camera that can use both film and digital backs. Sounds like the best of both worlds, right? Wrong. By the time it finally launches in 2002, the camera is neither fully digital nor fully film, and it ends up frustrating photographers who don’t want to shell out extra cash for the digital back. Photographers are switching to the cheaper, more advanced digital cameras from Canon and Nikon, and Hasselblad’s once-mighty hold on the high-end market is slipping faster than a lens cap in a windstorm.

By the early 2000s, Hasselblad is in full-on survival mode. They’ve laid off most of their workforce, their analog sales are in freefall, and they’re teetering on the brink of bankruptcy. But, just when it seems like the end is near, they pull off one last Hail Mary: a merger with **Imacon**, a Danish manufacturer of digital backs. Together, they launch a fully digital system that finally puts Hasselblad back in the game—albeit as a super high-end brand catering to the elite. It’s not the moon landing, but hey, at least they survived... sort of.

So, what’s the moral of the story? In the world of cameras, whether you’re shooting film or digital, one thing is clear: if you don’t adapt, you’ll get left behind—no matter how legendary your brand is. Stay focused, stay flexible, and for goodness’ sake, don’t let your cameras end up as historical artifacts before their time.

That’s all for today on **"Shutter Speed Shenanigans!"** Keep snapping, stay sharp, and remember: the future may be digital, but nostalgia will always be in analog.

Urban – Street – Photography for Beginners:

A Guide to Mastering the Concrete Jungle

Kiribane is an Asian-based street and documentary photographer who has roamed the bustling streets of Hong Kong, Vietnam, India, and the Philippines. An analog enthusiast and frequent social media contributor, Kiribane is here to share some tips that are as funny as they are useful for street photography beginners. So, buckle up and prepare to dive into the unpredictable, thrilling, and occasionally bizarre world of street photography!

1. JUST DO IT (Seriously, Just Do It)

We all have that little voice in our heads, telling us that if we walk out with a camera, someone's going to call the cops or hit us with their purse. News flash: nobody cares! People are too busy texting, catching up on Instagram, or figuring out the perfect Spotify playlist for their walk. So, stop overthinking it and start clicking!

Introduction: Why Urban Photography?

Let’s face it—not all of us live near breathtaking mountains, crystal-clear lakes, or vast forests where every sunrise looks like a scene from *Lord of the Rings*. For many of us, the daily backdrop is a bit more... concrete. But here’s the thing: **urban photography/street photography** isn’t just about capturing photos of tall buildings and crowded streets. It’s about finding humor, irony, beauty, and, yes, a bit of chaos in everyday life.

Whether it’s a jogger dodging traffic, a pigeon fighting over a pizza crust, or an old man sitting with his newspaper on a park bench, documenting these moments is your ticket to capturing stories right outside your front door. And the best part? You don’t need a bag full of lenses or fancy equipment. For this adventure, we’ll focus on using a single, trusty **prime lens** to keep things simple, spontaneous, and, most importantly, fun!

So grab your camera, fasten your humor belt, and let’s dive into the wonderful (and occasionally ridiculous) world of **street photography**.

Chapter 1: The Power of the Prime Lens – "Less is More, Trust Me!"

If there’s one golden rule of photography, it’s this: **simplicity is your best friend**. All you need is a good prime lens, preferably a 35mm or 50mm. You might ask, “But why limit myself to just one lens?” Well, let’s look at it this way: the great photographers of the past worked with a single prime lens, often a 35mm or a 50mm, and managed to capture iconic, timeless images. Not convinced? Let’s break down the perks of sticking with one prime lens:

1. **You Learn to "Zoom with Your Feet"** – No more standing in one spot lazily twisting the zoom ring. A prime lens forces you to move closer or farther from your subject, giving you different perspectives and making you part of the scene. This “feet zooming” is an essential skill that will turn you from a passive observer into an active participant in the city’s theater.

2. **Less Gear = Less Stress** – Ever seen those photographers lugging around bags full of lenses? They look like they’re headed on a survival expedition! With one prime lens, you can focus on the moment rather than fumbling around trying to pick the perfect lens. Trust me, you’ll thank yourself when you’re not constantly worrying about changing lenses and missing the shot.

3. **The Perfect Depth of Field** – With a prime lens, especially a 50mm, you can control the **depth of field** (a fancy way of saying what's sharp and what’s blurry). This helps make your subject stand out against a cluttered city background, which is often just what you need to create that striking urban photo.

**Example**: I was wandering around a street market with my 50mm lens, feeling like a minimalist champion. A fruit vendor with a handlebar mustache was arranging apples at his stall. I couldn’t zoom, so I had to move closer. By getting close enough to catch the twinkle in his eyes while keeping the apples in soft focus, I captured a scene that felt intimate and alive—all thanks to my prime lens and a bit of feet zooming.

Chapter 2: Getting Up Close – "Yes, You Might Awkwardly Bump Into People"

In urban photography, you must be **brave** and **bold**. Your prime lens won’t allow you to stand at a distance and zoom in like a spy. Nope, you’ll need to get up close and personal with your subject. The upside? It makes your photos feel immediate, dynamic, and full of life. The downside? You might get a few weird looks.

Don’t worry, it’s all part of the process. The key is to blend in, be casual, and most importantly, **smile**! A smile is your invisibility cloak; people are much less likely to notice or mind you if you seem friendly. Just remember, you’re not out to be sneaky—you’re capturing the candid beauty of urban life.

**Example**: I once spotted a man in a park reading a newspaper, completely engrossed. With my 50mm lens, I had to get within a few feet to frame the shot I wanted. I crouched down (yes, you’ll be doing a lot of knee-bending in this business), aimed, and snapped. He noticed me afterward, looked up, and gave a nod. I smiled back, and we both went on with our day. The resulting photo had an intimacy and spontaneity that simply wouldn’t have been possible if I had been shooting from afar with a zoom lens.

Chapter 3: The Art of Framing – "Finding Your Frame (Literally!)"

One trick to creating interesting compositions is to use other people as part of the frame. In the chaotic cityscape, things are always in motion: people walking, cars passing, pigeons… well, being pigeons. But these elements can become natural frames for your photos if you look for the right moment.

**Example**: I was taking photos at a busy intersection, and through the viewfinder, I noticed a couple engrossed in conversation. Two cyclists passed by, and I saw an opportunity. I quickly captured the shot as their shoulders blurred in the foreground, framing the couple perfectly. It added depth and perspective to the image, making it feel as if the viewer was peeking into a private moment amidst the city’s hustle and bustle.

Chapter 4: Depth of Field – "Your Best Friend in a Crowded City"

City scenes are messy. There's always too much happening in the background—cars, ads, people in various states of confusion. This is where **depth of field** comes into play. A prime lens like the 50mm allows you to play with the aperture (that’s the little f-stop number). A wider aperture (f/1.8 or f/2.0) creates a shallow depth of field, making the background blur into a soft bokeh while keeping your subject in sharp focus.

**Example**: Imagine you’re in a café. A man with a weathered face is sipping his coffee, deep in thought. You set your aperture to f/1.8, focus on his face, and the background of people, tables, and café decor blurs into an impressionistic swirl. You’ve just isolated your subject beautifully, turning a potentially chaotic scene into a captivating story.

Chapter 5: Hip Shots – "Shoot from the Hip Like a Photography Ninja"

There’s an art to shooting photos without looking through the viewfinder, and it's called the **hip shot**. It’s perfect for capturing candid moments on busy streets without making people self-conscious. Hold the camera at waist level, point it in the general direction of your subject, and press the shutter. It takes a bit of practice, and the results can be hit or miss, but when you get it right, it’s pure magic.

**Example**: I was walking through a street fair, camera hanging around my neck. I passed a child with a massive ice cream cone, his eyes wide in anticipation. Without stopping, I tilted my camera at my hip and snapped a shot. Later, when I checked the photo, I was thrilled to see I’d captured not just the kid’s excitement, but also the chaotic swirl of the fair behind him. It was raw, candid, and full of life.

Chapter 6: Changing Perspectives – "Bend Your Knees, Stand Tall, or Climb High"

Urban photography is all about **perspective**. Most people see the world from their eye level. But to create photos that stand out, you’ve got to change things up. Don’t be afraid to crouch, lie on the ground, or find a high vantage point.

1. **Worm’s Eye View**: Get low to the ground and shoot upwards. This adds drama and makes ordinary scenes look extraordinary.

**Example**: I crouched down on a rainy sidewalk and pointed my camera up at an oncoming pedestrian holding an umbrella. The reflection of city lights in the puddles added depth to the scene, turning a simple walk in the rain into a cinematic moment.

2. **Bird’s Eye View**: Find a bridge, balcony, or any high place to look down on the city. This perspective gives you the chance to capture patterns and movements that are invisible from street level.

**Example**: I found a bridge overlooking a bustling intersection. I waited until the traffic light turned red and the crowd started crossing. From above, the people looked like ants scurrying in all directions. It was an intriguing mix of geometry and chaos that only a high perspective could provide.

Chapter 7: Blending In – "The Art of Not Being the Weirdo with a Camera

"

When you're out with a camera, it’s easy to feel self-conscious, especially when you're up close to strangers. But here’s the trick: **blend in**. Carry yourself like you belong, not like you’re on a mission from a spy movie. Most people are too busy with their lives to care what you’re doing. So relax, smile, and be natural.

If someone notices you taking their photo, just give a friendly nod or a simple “Thank you!” If they seem curious, offer to show them the picture. You’d be surprised how many people are flattered by the attention.

**Example**: I was photographing a street performer, getting quite close to capture his animated expression. He noticed me and gave a questioning look. I lowered my camera, smiled, and mouthed, “Great performance!” He smiled back, struck a pose, and gave me an even better shot.

Conclusion: Embrace the Chaos, Find the Comedy

Urban photography is about **embracing the chaos**, finding humor in everyday situations, and learning to tell stories with a single shot. It’s not about having the most expensive gear or the perfect setup. It’s about **seeing** the world around you and capturing its essence with authenticity and a bit of cheeky charm.

Street photography is like fishing: some days you catch a big one, other days you come back empty-handed. No two outings will be the same, so stop expecting guaranteed success every time you step out. The street won’t wait for you. This isn’t a wedding where you can shout, “Can you kiss again, please?” Street photography is fast, fleeting, and spontaneous. Blink, and you’ll miss it.

Remember, it’s okay to be a bit awkward, to get weird looks, or to take blurry, off-kilter shots now and then. This is part of the journey! So go out there with your prime lens, bend your knees, shoot from the hip, and above all, have fun. The city is your playground, and every corner holds a story waiting to be told.

So there you have it: a humorous yet practical guide to street photography from Kiribane, who has dodged it all, laughed at it all, and still roams the streets for more. Now, grab your camera and step into the chaos—you never know what magic you might capture!