Vantage Point magazine

Et Cetera

VP3 logo vertical

I’m finally, officially launching my new project, Vantage Point magazine, a compact digital publication available on Apple’s Newsstand platform and produced by the great folks at Type Engine.

Why this magazine

As you’ll read in the introduction on Issue 0 of Vantage Point (the free demo issue you get when you download the app), I wanted to create a sort of Supplement for this website. A publication that could offer new materials related to the subjects I usually talk about here on Morrick.me, and also be an extension of Morrick.me by providing articles about other topics I’m interested in but rarely mention here. I want this website to stay focussed on a few selected categories and subjects, and things like book reviews, music reviews, non-tech opinion pieces, articles about movies or television series, etc., would be a bit out of place on Morrick.me. But not on a dedicated, compact digital Supplement like Vantage Point.

At the same time, I’d love to offer some degree of unpredictability, so that readers might wonder: what’s Rick going to talk about on this issue? I think it’s a good way to keep things interesting. I’m naturally curious, and Vantage Point is aimed at an audience of curious people.

Periodicity, structure, pricing

A new issue of Vantage Point will be available approximately every two weeks, and will include 4–5 articles. Two recurring elements in every issue will be:

  1. An introductory Aperitif, something to stimulate the reader’s appetite. It might be a series of images, a thought, a quote, some brief observations or excerpts found on the Web or in my archives.
  2. An episode of Low Fidelity, a novel I’m going to publish in serialised form (more information is available at the Crosslines//Low Fidelity website and I’ve talked about the project in more detail in this article). It is, I believe, the perfect chance to finally formalise a project I started in 1995 and subsequently left in a bit of a semi-abandoned state.

Since it’s available on Apple’s Newsstand platform, you’ll be able to read Vantage Point on any iOS device, both in portrait and landscape orientation. Together with the Type Engine staff, I did my best to offer a decent experience even on iPhones with a 3.5″ screen in portrait orientation, though text will certainly look better in landscape mode.

Subscriptions will cost $2.99 / €2.69 a month, which means each issue is going to cost you about $1.50 / €1.35, which seems a fair enough price to me.

Type Engine

This magazine wouldn’t exist without the tools and the assistance of Type Engine. Check their site to have an idea of the great service these people provide. I want to thank, in particular, Type Engine founders Jamie Smyth and Daniel Genser who have been extremely encouraging from the start and have helped me a lot in every way; Ben Moodie, who took care of the magazine’s template; David Tyner, Kelly Shaw and Debbie Lopes, who were always there to provide assistance at every step of the process. I also wanted to thank Alicia Kan for being a great motivator, especially in the early days of the project. And another thing worth mentioning: App.net played an important role in all this — without App.net, everything that led to the creation of Vantage Point wouldn’t have happened.

Final note

I really hope you’ll like Vantage Point and that you’ll want to support my writing by becoming subscribers and helping me spread the word. Thoughtful feedback is very welcome. You can reach me on Twitter and App.net as usual (I’m @morrick on both networks) or you can write an email at vp(@)morrick.me. I have also created an official Tumblr account for Vantage Point that I’ll use to list the contents of every issue and for all communications strictly related to the magazine itself.

As always, thank you for reading.

 


 

Update, 29 May 2014 — Users are reporting a few small problems with the app. I did my best to spot bugs and problems before launching the magazine but still something has managed to escape my (and Type Engine’s) attention. I’m adding all reported problems to this post on the Vantage Point official Tumblr account. I want to thank all the people who contacted me so far for their positive feedback and for making me aware of the issues. Hopefully all current problems will be fixed with the next update. Thank you all for your patience and understanding.

 


 

Update, November 2016 — As of end of November 2016, Vantage Point magazine has ceased publications. Thanks to everyone who subscribed and supported this project during the two years of its run!

Just because it’s with you doesn’t make it the best

Tech Life
Canon AE-1

Canon AE‑1

Inspired by The Best Camera, a recent article by Ben Brooks, I wanted to share a few observations about that same mantra which seemingly annoys both Ben and me — the best camera is the one you have with you.

You can read those words in many ways. To me, they always sounded a bit like It’s okay to consider a smartphone your best camera, which is fine, I guess, considering the greatly improved camera capabilities of some high-profile smartphones today. Related: your smartphone is your best camera because it’s always with you and allows you to capture moments you couldn’t have captured otherwise. However, whether what you have with you is your smartphone or a full-blown camera, the fact that it’s there when you need to capture something doesn’t necessarily mean it’s the ‘best’ at doing so.

I own many different film cameras, and a couple of Nikon Coolpix digital cameras — the 8800 (8 megapixels) and the compact 7600 (7.1 megapixels) — which are about ten years old. I always have my iPhone 4 with me, which takes decent photos, and I often bring along a film camera. My little collection features all kind of 35mm film cameras: SLRs, rangefinders, simple fixed-focus point-and-shoot cameras, all ranging from the cumbersome (but still amazing) Canon T90 SLR to the pocketable Olympus XA2, Olympus Pen EE2, Agfa Optima Sensor and Canon Demi.

When you own more than 25 vintage cameras, all in working condition, you tend to do some planning when you go out. Ninety percent of the time, I have both my iPhone and a compact film camera with me. When I’m simply going for a walk (as opposed to going out on errands or to work off-site), I typically bring more versatile camera gear with me: an SLR, a 50mm normal lens and a zoom lens. Despite all these options and a bit of planning before going out, there are times when I still end up leaving the ‘best’ camera at home.

Ben Brooks writes:

I hate the mantra that the best camera is the one with you, but in hindsight it does seem to hold true — well, kind of. You see in hindsight, and even now, we don’t really know what images we are missing, or missed. I don’t know what other images I could have had on that hike if I had tripods, lenses, dSLRs, ND filters, and patience. I don’t know, and I don’t care to try and think back on it.

For me, the best camera is that which is most suitable for the situation I’m in, and there are times when I know what images I’m missing, and for a photo enthusiast as myself, that’s just infuriating. That conversation between two old ladies on a fourth-floor balcony at sunset would have been a terrific capture had I had my Canon SLR with the great 35–105mm f3.5 zoom lens, which is a great performer in low light. Instead I was carrying my iPhone and a Canonet GIII QL-17 rangefinder with me (which has a fixed 40mm f1.7 lens), and all I could capture was a shot of the front of the building where you can see two people hanging out on the fourth floor. Still a decent photo, but not the result I was looking for.

Conversely, sometimes I stumble on great street scenes, but my large and heavy Canon T90 SLR with the equally heavy Vivitar Series 1 – 28–90mm 1:2.8–3.5 zoom lens is hardly the best gear to capture people discreetly. My iPhone 4 is a decent enough fallback, but every now and then the hardware is a bit too slow to capture a scene anyway.

These are just two quick examples that I hope help illustrate my point. Mind you, I’m often satisfied with the photographic results I get at the end of the day, and I still find myself in situations where I’m really glad I have at least my iPhone with me. But other times my gaze locks on a certain scene or detail I would love to capture properly, yet I have to ‘let it go’ because I just don’t have the right gear with me. Yes, I’d rather not take a picture than accept the tradeoff of shooting something anyway with the wrong tool and hope I can adjust it and push it a bit towards the original vision in the post-processing stage. This will probably sound like nitpicking to most casual digital photographers (for whom the words The best camera is the one you have with you will also probably ring quite true most of the time), but it’s the way I approach photography.

You can certainly make the most of what you have with you, but it won’t always be the best camera or the best results you can achieve. It’s all a matter of expectations in the end, I think.

From the lost drawer: Italian calligraphy book from the 1900s

Et Cetera

Dating the book

The book is approximately 13.5 cm tall and 28.5 cm wide, and consists of 40 plates plus an illustrated inside cover. There is no explicit printing date, but the publisher — Carlo Barbini Editore — was active between 1860 and 1918. According to this book, which lists all the publishers based in Milan, Italy, that were in business between 1900 and 1945, Carlo Barbini Editore added the book trade to its publishing activities in 1868.

Inside cover

As you can see in the bottom center of the inside cover, the publisher is listed as “Carlo Barbini Librajo Editore”. Libraio (here written in the spelling of the time) means bookseller in Italian. Therefore this book must have been printed after 1868. Since it clearly belonged to my great-grandfather (it has his signature on it) and he was born in the early 1890s, the book was probably used when he was a student during the 1900s (calligraphy was taught in high school back then). It’s hard to say when exactly it was printed — it could have very well been any year between 1868 and 1918 — but I venture a guess that it may have been printed in the 1900s at the latest. The 1910s is too late a period for my great-grandfather to have used it in school (he fought in World War I).

Structure of the book

The book consists of 40 plates. It begins with a few plates (№ 1 to 10) outlining the way to draw letters. Then it offers examples of alphabets and words in various styles (round, italic, English script, Gothic script) (plates № 12 to 19). Then there are a few plates with different typographic examples (№ 20 to 22, then № 29 to 34). Plates № 23 to 28 offer a fair amount of beautifully ornate monograms, while plates № 35 to 39 are examples of headings to use in letterheads.

Condition of the book

Considering that this book is at least 100 years old, I’d say things could be worse. The paper used is rather thick and coarse, and it certainly helped the book survive all these years. Unfortunately it was mishandled and abused, probably when it was passed to my grandfather and his brother when they were kids. They treated it as a colouring book and there are a lot of scribblings on many of the pages. Some I was able to erase because thankfully they were done with pencils, but there are pages showing markings made with coloured pencils, crayons and even dip pens. For these, I did my best at cleaning up the scans using the stamp tool in Graphic Converter. Sadly, there are also a few pages missing (ripped or cut off).

Cleaning up

All the scans presented here are of the pages and plates I could scan and restore. If a plate is missing, it’s because either the page itself was missing or the page was so badly damaged/abused it wasn’t worth presenting. I managed to clean up a few plates where the abuse was light. I proceeded with caution and I decided to limit the cleaning process to a minimum to avoid results that would have looked too artificial for a 100-year-old book. My aim was to make letters and glyphs more legible, nothing more. Here are a few before-and-after examples of the work I did:

Cleaning up

 

Cleaning up

 

Cleaning up

 

Cleaning up

 

The scans

And here are all the scans. I have made available a Dropbox folder containing the high-resolution images (filenames ending with ‘c’ — e.g. tav03c.jpg — indicate that the plate has been retouched and cleaned).

Enjoy.

Plate 1
Plate 1

 

Plate 3
Plate 3

 

Plate 5
Plate 5

 

Plate 6
Plate 6

 

Plate 12
Plate 12

 

Plate 13
Plate 13

 

Plate 14
Plate 14

 

Plate 15
Plate 15

 

Plate 16
Plate 16

 

Plate 17
Plate 17

 

Plate 18
Plate 18

 

Plate 19
Plate 19

 

Plate 25
Plate 25

 

Plate 26
Plate 26

 

Plate 27
Plate 27

 

Plate 28
Plate 28

 

Plate 29
Plate 29

 

Plate 30
Plate 30

 

Plate 32
Plate 32

 

Plate 34
Plate 34

 

Plate 39
Plate 39

 

Other posts in the “From the lost drawer” series

 

Tech podcasts need afterwords

Tech Life

Every tech pundit out there seem to have a podcast or frequently appears on one. There is an increasing number of generally interesting and quality podcasts and, let’s face it, it has become increasingly difficult for listeners to keep up with most of them. Even if you follow 3 or 4 podcasts on a regular basis, you’re more or less constantly missing out on at least 5 others, equally good, with equally interesting fellows.

A few days ago I was talking with a friend and explaining something I wanted to achieve, and he suggested I looked for a certain (old) episode of a certain podcast because one of the hosts was talking exactly about the same thing and giving valuable suggestions. It took me a while to find that, and in the process I couldn’t help but think about the sheer quantity of good stuff that is shared, mentioned, commented on all the currently running podcasts out there. Stuff that gets buried away pretty quickly because, if you can barely keep up with 3 or 4 podcasts, imagine searching for interesting information in their audio archives, or in the archives of a podcast you never followed but you were told you could find noteworthy content in some of its past episodes.

Usually a tech pundit will announce the upcoming episode of his or her podcast, with a more-or-less accurate outline of the topics they plan to treat, and that’s it. If you follow the pundit’s blog or website regularly, but not their podcast, you may notice something potentially interesting in that outline and maybe you’ll listen to a specific episode. That may work every now and then. But as you know, there are a lot of podcasts where the conversation between the hosts and the guests is in constant flow, doesn’t follow a rigid schedule, and may produce notable tangential observations one couldn’t expect by just reading the initial outline.

I think it would be great, and useful, that the pundit or pundits themselves could take note of the most important insights coming out during the broadcast of an episode of their podcast, and wrote a sort of ‘afterword’ after each episode. It doesn’t have to be a full transcript (it would be a folly considering that some podcasts have episodes longer than 1½ hours), but a sort of post-airing summary or recap, touching on the most interesting points made during an episode. It would be great for archival purposes (for those who made the podcasts and for the Internet at large), and it would provide an easier way to include what was said in a podcast if you want to transfer the debate over to the written word and to the written exchanges between blogs and websites. 

It would demand more effort on the part of the podcast creator(s), but I think it would add a lot of value to the product, in the end. I’m not convinced it would result in a loss of audience — on the contrary, by reading what’s been discussed in previous episodes in more detail, perhaps more people would start following different tech podcasts, because they would have a clearer idea of what they’re getting into.

Improving email has little to do with email

Tech Life

In recent times there have been a few attempts at ‘fixing’ or ‘reimagining’ email. This article on Medium is just the latest that has caught my eye. I keep believing email doesn’t need any fixing — that the problem is the user, not the medium per se. 

Email is the most versatile tool for communication. Versatile in the sense that it gives the user a lot of freedom of movement. Just to make a few examples: there are virtually no limits to the length of a message, you can attach pretty much any kind of file to an email message, and if you use it to broadcast messages to more than one recipient, you can specify exactly how many people can see those messages. Email is free from contexts and constraints thanks to its nature of general-purposeness. It’s really the digital equivalent of using pen and paper to communicate. 

The huge impact social networks and instant messaging are having on human online interaction has changed the way we communicate, with regard to both form and substance. We have come to expect shorter reaction times, more conciseness, more promptness when it comes to respond to a message, and — in a subtler way — we have come to expect more efficiency. We tend to get annoyed when someone is slow at getting back at us, when their response is more verbose and rambling, in other words when it doesn’t come in the way we expect. 

Email is seen as an old, obsolete way of communicating because it allows people to be slow, verbose, rambling, non-efficient and generally more ‘random’ in the way they express themselves. These attempts at ‘fixing’ email all want to change the way email works (socially and æsthetically; I’m not talking about protocols):

  • with regard to writing messages, the aim appears to be to basically reduce email to another, simplified, challenge/response social-network-flavoured communication tool;
  • with regard to email management, the aim appears to be to transform email into a productivity tool, similar to a task manager or a to-do app.

 

Many of these efforts, to me, look misguided. It’s like wanting to retrofit a hammer so that it can work like a screwdriver, when you could actually go and use a screwdriver — or a hammer, according to what you want to accomplish. There’s nothing intrinsically wrong with email, and while it is a versatile communication tool, it may not be the right one for what you’re trying to accomplish. With all the different communication tools we have in our digital arsenals today, I don’t see the point in wanting to change one at all costs to make it work like others that are already available. This shoehorning is largely unnecessary. 

One of the reasons why I’ve never really complained about the state of my email management is because I always try to pre-emptively suggest my correspondents what’s the best way to get in touch with me according to what they expect from our interaction. Quick comments or suggestions? Twitter or App.net. (Let me say that again: App.net is also great for private exchanges, since private messages can be up to 2048 characters long, thus allowing for a thoughtful, detailed communication.) Up for a chat? We can arrange one. Services like Facebook, Flickr, Instagram and Tumblr provide members with various intercommunication options (I’m not on Facebook, though). Then there are messaging platforms and apps: iMessage, Telegram, WhatsApp, Line, WeChat, etc. (I’m a happy Telegram customer, by the way). If all else fails, or if the nature of your message demands it, or if the kind of response you expect from me demands it, you are welcome to write me an email.

In the end it’s the same old story, really: use the best tool for the job at hand. In the article on Medium I mentioned at the beginning, the author writes: 

Most people don’t know how to write an efficient email and so what could have been one sentence ends up in a vomit of thoughts left for you to dissect.

I don’t know how we’re going to have people write better emails. 

In my opinion, the best course of action in this case is to tell people not to write you an email if you don’t want or don’t have the time to dissect their ramblings. Suggest others to use communication tools that have certain constraints in place by design, or that make it easier for you to handle exchanges and communications. I know it’s not always possible to do this, especially when someone new sends you an email out of the blue, but things do get more manageable when your interlocutors begin to understand the best (or quickest) way to receive a response from you. 

And when it’s time to write to someone, take these same factors into account and ask yourself whether email is really the most effective choice. If what you have to say is little more than a question or request, consider trying other channels, especially if the person you’re contacting is active on social networks. I’ve had people whose email response time is typically 7–10 days reply to me almost immediately via Twitter or App.net.

Email bankruptcy’ is not a failure of the medium, but an indicator that something’s wrong with how you manage email communications. All these attempts at fixing email want to make email more manageable by altering the workflow in a way or another, and many of the approaches I’ve seen so far have left me with the impression that the email process in the end gets complicated rather than simplified. Sure, approaching email messages as if they were tasks in a to-do application may be a good solution for the triaging stage, but at the end of the day you still have to deal with the messages themselves. There is no way around that. Just like a to-do app can’t carry out the tasks for you.

I think that, ultimately, it’s a matter of reconsidering certain habits instead of trying to find new ways to force a square peg into a round hole.