"Photography is truth. The cinema is truth 24 times per second."-- Jean-Luc Godard   "What use is having a great depth of field, if there is not an adequate depth of feeling?"-- W. Eugene Smith   In this episode, Antonio and Ward catch up amid packing tape and camping plans. Antonio talks through the experience of unearthing old cameras—including a pair of Olympus XAs he didn’t even realize he owned—while preparing for his move. The conversation wanders through gear talk, fond memories of a long-lost Forscher Polaroid back, and a reflective look at how certain tools and artifacts carry pieces of photographic history. Meanwhile, Ward shares a bit about an upcoming camping trip and a brief hands-on with Fujifilm’s new GFX camera, which prompts a chat about who these high-megapixel cameras are really for.   Things shift toward the visual language of photography when Antonio brings up the use of shallow depth of field in shows like The Handmaid’s Tale. That sparks a back-and-forth on the emotional and narrative power of selective focus, both in film and stills—from Sally Mann’s large format portraits to W. Eugene Smith’s documentary work. They round out the episode by poking at the growing trend of chasing a “cinematic look” in photography, discussing whether it’s a meaningful stylistic choice or just another preset to scroll past.   Subscribe to our Substack Newsletter Help out the show by buying us a coffee! Support the show by purchasing Antonio’s Zines. Send us a voice message, comment or question.   Show Links:   Antonio M. Rosario's Website, Vero, Instagram, Bluesky, and Facebook page Ward Rosin’s Website, Vero, Bluesky, Instagram and Facebook page. Ornis Photo Website  The Unusual Collective Street Shots Facebook Page Street Shots Instagram     Subscribe to us on: Apple Podcasts Google Podcasts Spotify Amazon Music iHeart Radio