In today's episode a photojournalist captures a Cartel wedding with a Fujifilm Instax, a company in Canada build a new film scanner, images of a Cosmic Web and more.
You can find the show notes here.
You can find the show notes here.
Show Notes
Welcome back to the show everyone, Liam here with the Liam Photography Podcast and this is Episode 464 for the week of July 24, 2025. In today’s episode a Fujifilm Instax at a Cartel Wedding, A new film scanner for analog photography, images of the ‘Cosmic Web’ and more.
Mexican-born American photojournalist Henry Craver recently traveled to Michoacán, Mexico, a region controlled by organized crime, to document life with his film cameras. However, after running out of film, he boldly took a Fujifilm Instax Mini 12 camera to a wedding and photographed gun-toting cartel members. A bizarre juxtaposition — instant film and organized crime — Craver returned home to New Jersey with spectacular photos and an even more exciting story.
Craver first traveled to Michoacán in 2020 while reporting on a migration story, and subsequently returned to the state in west-central Mexico multiple times while working on that project. It’s a beautiful, historic part of Mexico, although the region has experienced a surge in violent crime in the 21st century. Criminal groups in Michoacán are routinely better-armed than state security forces, and the U.S. Department of State’s Bureau of Consular Affairs says Americans should not travel to Michoacán “due to crime.”
That didn’t stop Craver, who was born in Mexico to American parents but spent “many of his formative years” in New Jersey.
“I’ve probably been to that part of Michoacán six times now,” Craver tells PetaPixel. “I remember being pretty nervous the first time I went. I had local contacts there from a previous story, but they themselves had been victims of some pretty awful narco-related violence.”
“That part of Michoacán was also much more volatile five years ago than it is today,” he adds, citing changing power structures among the criminal organizations in the region.
“Back then, a rival group was encroaching in and there were all these stories and signs of frequent fighting. I remember my second trip up there, an important guy’s daughter was getting married, and they had this big wedding at a hacienda off the highway. I’m at my host’s house, maybe a mile away, just hanging out on the porch. All of a sudden, we hear this big blast. A few minutes later, fancy Toyota and Ford pickups are zooming by us up the highway towards the rival group’s territory,” Craver recalls.
“It turned out that the rival cartel had sent guys down on a small motor boat and that they’d flown a drone strapped with explosives from the little boat into the wedding and detonated it. Nobody was killed. As I understand it, though, over the past three years or so, the group that controls this section of Michoacan has really solidified its control, and there’s much less violence.”
With all that experience under his belt and a relatively stable situation in the region these days, Craver says he initially wasn’t concerned about going to a party he knew would be heavily attended by cartel members.
“I’d been to weddings in the area before and thought I knew what to expect: Lots of farmers and a few lower-level mafiosos — they’d all be carrying guns because that’s the culture there, but they’d be happy to chat and be photographed,” Craver says.
However, despite these reasonable expectations, that was not his experience.
“From the outset of the party, I’m not comfortable,” Craver says.
It turns out that this was not a wedding attended only by low-level cartel members. There were also high-ranking members in attendance who had no interest in being filmed or photographed.
After questioning, Craver was allowed to stay and film, provided he didn’t record any of the higher-ranking gang members. But once everyone mingled and started dancing, he couldn’t tell who had been at the table he was not supposed to photograph.
“It’s not as simple as just avoiding the people with guns, a lot of the men are carrying,” Craver explains.
After settling in, Craver took out his Fujifilm Instax Mini 12 and began photographing the dancers.
Craver was quickly told to stop in case he accidentally photographed someone who didn’t want to be in any pictures, so he then went to talk to some cartel members off to the side. While that went fine, it did not take long before someone else was upset with Craver’s presence and filming.
“My discomfort obviously gets worse when I get yelled at. And then even after the big mafia figures leave, I think I’m still a little shaken up and struggle to really concentrate on making good photos. Honestly, I felt like I was just kind of shooting to get through the film and feel like I’d done my job,” Craver says.
However, despite these heightened tensions and a few altercations, the wedding party itself soon invited Craver to take their pictures during the celebrations, highlighting that most people at the party were welcoming and happy to have Craver there taking photos and recording video.
Surprisingly, this experience was Craver’s first time ever using an Instax camera.
“I hadn’t actually planned to do this project with the Instax,” Craver admits. “I’d burned through almost all of my normal 35mm film, making my previous video about the Afro-Mexican communities of the Oaxacan coast, about 13 hours south of this part of Michoacán.”
“So I get to Michoacán and have like half a roll of black-and-white film, my action camera, an Osmo Pocket 3, and this Instax Mini that I picked up weeks before in Mexico City to give to my girlfriend as a Christmas present after the trip,” the photographer tells PetaPixel.
Craver says his “hands were pretty tied when it came to camera choice,” but that the project “worked out okay.”
He says he was worried about busting out a bubbly, round Instax Mini 12 at this party in remote Michoacán, given the camera’s popularity among younger women and girls.
“You look at Instax Mini packaging and marketing, and you see tons of faces, and almost none of them are men. So it’s clearly marketed as a feminine product to a largely feminine audience,” Craver notes. “Rural, gun-toting Michoacanos, by and large, don’t consider themselves feminine. So I was a bit worried that they’d laugh at me, or worse.”
However, as Craver’s video shows, most people were happy to have their pictures taken by an Instax, including many of the gun-toting Michoacanos Craver thought might consider the camera too girly.
“I think lots of people nowadays, across all sorts of demographics, are jaded with digital images and are intrigued by physical prints,” Craver says. He photographed a similar wedding in Michoacán in 2021 using a Sony a7R III, but he doesn’t remember guests being nearly as excited about those photos while Craver was shooting. There’s something special about being able to instantly hold a physical print.
While the Instax was used out of necessity, Craver is, at his core, an analog photojournalist. Although Craver had been exclusively shooting digital for six years after becoming passionate about photography in 2018, he moved to film last year, as demonstrated by his string of recent excellent YouTube videos.
“I’d thought about switching to film for a while,” Craver says. “It’s hard not to regurgitate clichés when talking about this… that magic film quality, blah blah blah. But I’d look at photos from the late 20th century, both documentary and editorial, and they just seemed more powerful than similar modern digital images.
“So I concluded [there] was something about film.”
However, Craver believes the only advantage to working with analog is the results. The process itself is challenging, especially as a traveling photojournalist.
“The biggest, and possibly only, advantage to working with analog, in my opinion, is the results. Whatever the image conveys, beauty, sadness, excitement, it’s more intense on film.”
The drawbacks, as Craver knows firsthand, are much more numerous. Film is expensive, for starters. Further, autofocus on film cameras, like the 90s-era Canon SLRs he uses, is unreliable. While missing a moment is a risk with all types of photography, the risk is heightened with film. Craver is often very far removed from the situation he captured by the time he gets to see his shots.
“The delayed satisfaction can be good sometimes, but that’s more of a mixed bag,” the photographer says.
“However, by far the biggest downside for me is the lack of an LCD,” Craver says. “I never used viewfinders on digital cameras. I always find that I get better results holding the camera away from my best. These film SLRs force me into the viewfinder, and I think it makes my photos stiffer.”
For photographers seeking to follow Craver off the beaten path, whether that is in Mexico or elsewhere, he highly recommends hiring a local journalist or stringer as a guide.
“They’re usually eager for work and have very reasonable rates,” Craver says.
He also recommends focusing on photographing public events, whether that’s local sports or festivals.
“People at events are usually happy to be photographed. The mood is festive, and it’s easy to talk to people,” he says. “I’m partial to rodeos.”
Craver has met many special people through his travels and thanks to photography.
“Photography is a pretext that has taken me to places I’d never have gone otherwise, and it’s been incredibly enriching. I think there’s a lot of value in learning what life is like in different places, and it’s often very fun.”
Henry Craver is an experienced visual journalist actively seeking new opportunities. He and his girlfriend are expecting a child this winter, and Craver, currently unemployed, says “it’s time to get serious.”
“I’m a good storyteller across mediums, a hard worker, and I speak many languages,” Craver says.
People can keep up with Craver’s analog adventures on Instagram, his website, and YouTube. As a note for future readers, Craver is actively working on a new website that will be finished soon.
Saskatchewan-based Film Rescue International (FRI) develops and digitizes old film, whether it’s rolls of precious family memories or vital historical archives in museum collections. To deliver the best possible results in an increasingly challenging, stagnant film scanning industry, FRI built a cutting-edge multispectral film scanner.
Film Rescue International’s founder and owner, Greg Miller, first alerted PetaPixel about the multispectral film scanning project last fall. At that time, he was exploring how best to achieve his goals, whether through a partnership with an existing company or by building something from scratch. FRI opted for the latter option.
In the months that followed, Miller met Mattia Stellacci from the Technische Universität Berlin on Reddit, and the project to build a purpose-built multispectral photographic film scanner using available components entered full swing. Stellacci is a brilliant computer scientist with extensive experience in analog photography and film scanning.
After a considerable amount of time and money, the system is now ready. It comprises a Phase One IQ4 150MP Achromatic digital back, a Qioptiq Inspec.x L 105mm f/5.6 float lens, which is moved with extremely precise motors to both focus and enable scanning different film formats, up to 4×5, and vitally, a seven-channel multispectral light array. The lights, RRGBB plus infrared, illuminate the light table. There is a broad spectrum white channel for live view, and if desired, black and white scanning, although other colors could also be used for that, Miller says.
We’ll discuss the Film Rescue Eye — phonetically similar to Film Rescue International’s “FRI” acronym — system in more detail shortly.
As an aside, Miller says he floated the idea of calling it “POAM,” pronounced like poem. It’s an acronym for Phase One Achromatic Multispectral.
In any case, Miller lauds Stellacci’s unique combination of multispectral scanning, how film is supposed to look, and engineering expertise. Miller says the new system would have been “impossible” to build without Mattia.
As multispectral scanning pioneer Giorgio Trumpy (University of Zurich and NTNU) explains in a research paper co-authored with Barbara Flueckiger, by combining a monochromatic sensor and a multispectral light source with precisely-controlled red, green, and blue wavelengths, it is possible to digitize color photographic film with excellent color accuracy that requires minimal editing. Stellacci cites this paper, “Light Source Criteria for Digitizing Color Films,” as instrumental.
Many photographers who digitize at home use a digital camera with a traditional Bayer pattern filter array, which enables the camera’s monochromatic image sensor to capture color data. While this approach can be effective, it often requires photographers to manually fine-tune and color correct their digital scans.
Bayer pattern sensors are explicitly designed to digitally mimic human vision and capture images of the world that look “right” to human eyes.
“The core purpose of a digital camera is to optimize every single aspect from the hardware and software stage to match the human perception of color,” Stellacci explains.
However, that doesn’t align with how film works. For scanning color negatives, for example, it is not about what human vision sees on the light table, Stellacci explains, but what the photographic paper would see. The Film Rescue Eye’s RGB lights are finely tuned to match the spectral sensitivity of the photographic paper traditionally used to print color photos from film, essentially turning the digital sensor into a highly sensitive, extremely performant digital “paper,” albeit one that is significantly higher-resolution, versatile, and secure.
Basically, color negative film was not designed to be viewed directly, but rather to work in conjunction with photographic paper. Likewise, digital cameras are designed to match human color perception, not mimic film.
“Film has a certain way that it wants to be seen and a digital camera has a certain spectral response which is built into the Bayer pattern filter, and those don’t exactly align,” he explains.
Trumpy and Flueckiger’s research highlights a vital distinction between “information” and “appearance” purposes in digitizing film.
Stellacci emphasizes that it matters considerably whether the objective is to capture the appearance of the film medium at the time of digitization, or whether instead, the focus is on capturing as much information as possible that is stored in the film’s dyes. Stellacci believes, after considerable research and experimentation, that when the focus is on acquiring as much information as possible, the appearance aspect follows in kind.
And while Stellacci admits that all the required information is still there when scanning film using a Bayer pattern digital camera, it is not an optimized process, and it can take extensive work to achieve the desired results. This is not an ideal situation for a commercial enterprise like Film Rescue International.
With their new multispectral scanning system, Miller and Stellacci say they meet the film on its level, both in terms of the raw photographic data and the spectral response. They have created a system that “scans the film the way it wants to be seen.”
With a Bayer pattern sensor, each pixel captures only one color channel, and the sensor is comprised of 50% green pixels, 25% red, and 25% blue — human eyes are more sensitive to green. To ensure digital photos appear correctly, files are demosaiced to interpolate the missing color information, generating a full RGB image. Again, for digital photography, this is entirely fine.
However, for precise color reproduction when scanning film, there are issues. Colors shift, there are limitations in color resolution, and risks of false color effects and artifacts exist.
Color negative film records an image with cyan, magenta, and yellow dyes, which each absorb certain ranges of wavelengths of light. The precise behavior depends on many things, not the least of which is the film stock itself. Color print photo paper is made to be an ideal match.
When digitally scanning the legendary Kodachrome film, a commonly encountered film stock for Film Rescue International’s business, all these problems add up to present unique challenges.
Kodachrome routinely exhibits a blue color cast during scanning, as well as color fringing, halos, and other artifacts, all of which must be manually addressed, which is a time-consuming process.
However, the multispectral film scanner eliminates all these problems.
“It’s giving pleasant images really quickly,” Miller says. “What I’ve seen out of this machine is Kodachrome as Kodachrome should look.”
Miller tells PetaPixel that it is significantly easier to edit files from the new multispectral scanning system than any other system he has used.
“I’ve been having so much fun with this scanner.”
Stellacci credits this to the multispectral film scanner’s ability to capture massive amounts of information, which he says enables the color to “fall into place.”
The IQ4 150MP Achromatic sensor has no Bayer pattern filter — so it is a monochrome sensor — and it can capture a massive range of light data in each and every pixel. Each primary color channel, red, green, and blue, is captured in full for all 150 megapixels. Each exposure captures one specific color channel, and these frames are then combined to create a full-color image with extreme color accuracy.
But why not use a dedicated film scanning system instead? Film Rescue International has these, of course, but the highly specialized sensors in these machines are no longer in production. When a sensor malfunctions, it must be replaced with a used one, and sometimes these are not much better. This problem extends to other vital components of the scanners and will only worsen over time. Even routine service costs thousands of dollars, and the people who can do it are retiring. It is simply not a sustainable situation.
While Stellacci emphasizes that no part of the new Phase One Multispectral System, which Film Rescue International calls “the Pièce de résistance of modern film digitization,” is itself unique, the combination of all its elements is special. It represents a uniquely large step forward in digital film scanning, a field that has not experienced much groundbreaking technology in recent years, or even decades. It combines all the best, modern digital imaging technology into an easy-to-use, reliable, and exceptional system unlike anything else out there.
Mattia emphasizes the importance of pragmatism for a project like this. He has been working on the project for the past few months, but has years of rigorous academic experience with film scanning. He says he created a film scanner with 80 different spectral bands, but “a lot of them, you don’t need.” He has also worked with systems using cameras with much smaller sensors, which then require tiling and additional motion components.
By eliminating dozens of spectral bands, the digitization process is dramatically simplified. And by using a camera with a massive sensor, tiling is entirely unnecessary (the Phase One Multispectral System scans at over 10,000 DPI for a 35mm frame). Furthermore, while academic research is not necessarily concerned with practical applications, Stellacci worked diligently to develop a system for Film Rescue International that would be efficient, consistent, and capable of operating within a semi-automated workflow.
The infrared light source is an important component, too, as it enables the use of software that can automatically remove dust and scratches.
The workflow is quite straightforward, although the hardware and software working behind the scenes are extremely sophisticated. Once the film is prepared for scanning — FRI does wet scanning — it goes into the appropriate holder above the multispectral lights, the Phase One camera, lens, and software work together to achieve optimal focus and exposure. Once setup, scanning each frame across all the color channels takes less than 10 seconds.
Stellacci aimed to eliminate as many bottlenecks as possible, from preparing the film for scanning to capturing the images and final output. The software he wrote to run the system provides all the controls Miller needs, ensuring that everything is seamless and the results are immediately excellent, with virtually no need for manual color correction.
Even if a Bayer pattern camera can ultimately achieve the same results as the Phase One Multispectral System, it requires extensive hands-on work. Although, for his part, Miller believes the Phase One Multispectral System offers better results than his new Bayer pattern Phase One scanning system, regardless of the adjustments he makes to the files.
Another benefit of the new system is that it can easily scan any format the FRI team can build a carrier for.
“This was a limitation with our Fuji SP-3000,” Miller says. “If you wanted to do any odd sizes, you had to jerry rig it into the system and you also couldn’t scan anything larger than 6×9 centimeters. We will be scanning everything from Minox to 4×5 as we get carriers built. There will be almost 30 carriers as we will a crop carrier and a slight overscan carrier for all formats.”
While Miller admits that many people want cheap, fast film scanning, he knows there’s an archival community that seeks the highest quality possible. He believes that’s where the Phase One Multispectral System comes in.
Given the cost of the Phase One IQ4 150MP Achromatic back itself, let alone everything else that went into the system, it is evident that Miller and Film Rescue International have put significant money into their endeavor. It is a big swing.
“This is the work I love doing,” Miller says, hopeful that Film Rescue International can capture a small part of the archiving market that wants the best quality available. “I love scanning people’s old negatives from the 40s, 50s, 60s, and 70s.” He says the older photos are typically so interesting, as photography was still relatively inaccessible, and people were so careful with how they shot every single frame.
When digitizing old film, whether they are family memories or significant historical moments, Film Rescue International’s Phase One Multispectral System is a future-proof, modern solution with incredible resolution and color rendering. The system meets FADGI standards, too, of course.
“We’ve strived to be at the top of the market for lost and found film processing and having a scanning system where we can say, in all honesty, ‘This is it, as good as you’ll get anywhere,’ is really important,” Miller says. He believes the new system cannot be beat.
“While all of the images in this article could be marginally improved with a digital edit, I felt it was important to present the scans just as they came out of the scanner, and for that, the results are exceptional,” Miller says.
After seeing the system in action, carefully inspecting the very early results, and speaking to the minds behind the machine, Miller’s confidence is well-placed. Film Rescue International and Mattia Stellacci have created something truly remarkable.
An international team of astronomers captured direct evidence of the filaments that weave an interconnected web throughout the cosmos.
Physicists have long theorized the existence of this cosmic web of matter, but it has proven exceptionally challenging to observe. As Earth reports, astronomers from the University of Milano-Bicocca and the Max Planck Institute for Astrophysics published new research that includes high-definition images of the filaments that connect a pair of quasar-host galaxies, providing the first direct images of the theorized cosmic web and lending credence to cold-dark-matter theories.
Many physicists believe that there is a hypothetical type of dark matter, cold dark matter, which underpins the Lambda-CDM mathematical model of the Big Bang. This is the current standard cosmological model, and despite its relatively high level of success under scientific scrutiny, the dark matter required for the model to function has been complicated to observe.
Observation of dark matter and dark energy is a significant focus for modern physicists and astronomers. Scientists are using tools like the James Webb Space Telescope, the Euclid space telescope, and the groundbreaking LSST, the world’s largest digital camera, at the Vera C. Rubin Observatory to find evidence for the dark matter and dark energy scientists believe are coursing through the Universe. Current estimates suggest that only about 5% of the matter in the Universe is ordinary matter, the stuff that can be directly observed.
The new team of researchers who directly imaged cosmic filaments used the Multi-Unit Spectroscopic Explorer (MUSE) mounted on the Very Large Telescope (VLT) at the European Southern Observatory (ESO) in Chile. MUSE detects a wide range of spectra, which enables astronomers to see the very weak hydrogen emissions tied to the otherwise invisible filaments.
This very faint filament is, as Earth describes, a “gravitational highway” for cosmic gas, which includes the materials required to form new stars. The direct observation of this pathway through space provides significant evidence for cold dark matter theories, which suggest that galaxies grow by accumulating gas through a series of interconnected webs rather than through isolated clouds of matter in the interstellar medium.
“By capturing the faint light emitted by this filament, which traveled for just under 12 billion years to reach Earth, we were able to precisely characterize its shape,” says Ph.D student Davide Tornotti from the University of Milano-Bicocca. Tornotti is the lead author on the new study.
“For the first time, we could trace the boundary between the gas residing in galaxies and the material contained within the cosmic web through direct measurements,” Tornotti continues.
Tornotti and the team used MUSE’s sensitivity to capture the sharpest image ever of a cosmic filament, which spanned about three million light-years.
Lomography has announced a revitalized lineup of its classic Petzval lens line with the new Joseph Petzval Focus-coupled Bokeh Control Art Lens Series. The new lens series adds refined manual controls and improved focus-coupled bokeh control.
According to Lomography, the revitalized lens lineup features five focal lengths ranging from 27mm to 135mm that have been designed using recalculations from Joseph Petzval’s original 1840 portrait lens to bring 19th-century optical magic into the digital filmmaking and photography era. This includes the aforementioned updated focus-coupled bokeh system, refined manual controls, and native full-frame mirrorless support. The new lenses will offer users optimized precision for videography, providing unified gear positions and follow-focus support for seamless integration into any filmmaking workflow.
The hallmark of the Petzval look is, of course, its dramatic swirling bokeh. However, now, it’s variable — each lens offers seven levels of bokeh swirl intensity, controllable via a distinctive chrome ring. What’s especially exciting about these lenses is that the bokeh response is now mechanically linked to the lens’s focusing mechanism, providing a more natural transition in rack focus and a depth-based change in the bokeh structure, which the company hopes will be especially appealing to videographers.
Technically speaking, while great for photography, the improved lenses have been optimized for video work with the company saying, “the lens series will streamline any video production workflow.” Each lens will feature a seamless, de-clicked aperture ring, a long-throw manual focus ring (180 degrees), standard 0.8 pitch gears for follow focus systems, and a unified gear spacing across all focal lengths for easy lens swaps on set.
The new 35mm f/2 Art Lens will feature a lens construction of five elements in four groups with an aperture range of f/2 to f/22. This design provides a field of view of approximately 63 degrees, with a minimum focus distance of 0.4 meters (15.75 inches), and features a 67mm filter thread.
The new 55mm f/1.7 Art Lens will feature a lens construction of four elements in three groups with an aperture range of f/1.7 to f/22. The design provides users with a 43-degree field of view and features a minimum focus distance of 0.7 meters (27.56 inches), as well as a 67mm filter thread.
Finally, the 80.5mm f/1.9 Art lens will feature a lens design of four elements in three groups, with an aperture range of f/1.9 to f/22 and provide a field of view of 30 degrees. The lens offers a minimum focus distance of 0.8 meters (31.5 inches) and also has a 67mm filter thread.
The new Joseph Petzval Focus-Coupled Bokeh Control Art Lens Series will include 27mm f/2, 35mm f/2, 55mm f/1.7, 80.5mm f/1.9, and 135mm f/2.8 primes for the Sony E, Canon RF, and Nikon Z systems. While The 27mm and 135mm are currently still in development, the 35mm, 55mm, and 80.5mm are available for preorder now for $499 each. The company will also offer discounted bundles for photographers who want multiple lenses.
Physicist and self-described creator Sebastian Staacks is back with another wild photo booth creation. Rather than a DSLR-powered “bullet time” photo booth, Staacks built a Game Boy Camera photo booth.
Similar to 2023, when Staacks built his bullet-time photo booth, the new Game Boy Camera photo booth was also custom-built for a family wedding. As Staacks jokes, he has a lot of cousins.
“Another one of my cousins got married, so it was time for another photo/video booth,” Staacks writes on his blog, There Oughta Be. “This time it uses a Game Boy Camera and a Game Boy Printer.”
This is Staacks’ fifth custom booth he’s built for weddings, including one he made for his own, but the Game Boy Camera creation is by far the most lo-fi and pixelated. The celebrated Game Boy Camera, which has garnered a cult following in the DIY community in recent years, features a 0.014-megapixel monochrome image sensor.
In the case of the Game Boy Camera, the lack of resolution isn’t a downside; it’s fundamental to the camera’s appeal. Staacks’ cousin “loves old video game systems,” so combining Staacks’ prior work with the Game Boy Camera and his video photo booths made perfect sense.
The final setup comprises a Game Boy Pocket, a Game Boy Camera, a Sony a6400 mirrorless camera to record video from the same angle as the Game Boy Camera, a Game Boy Printer, and a Raspberry Pi 4 running a Python script that controls the entire setup. In a bit of nostalgic fun, the Game Boy Camera that Staacks used is the very one he got as a child — his first-ever digital camera.
Staacks developed what he calls the GB Interceptor in 2022, which enables him to take what the Game Boy Camera would typically send to the Game Boy and reroute it via a microcontroller. While a lot is going on under the hood, what this enables Staacks to do is turn the Game Boy Camera into the equivalent of a webcam, allowing it to record video. It’s fascinating tech, which Staacks presented about at the 37c3 Chaos Communication Congress.
For this project, it is enough to know that the Game Boy Camera in Staacks’ setup can capture both still and motion pictures using its 0.014-megapixel sensor. During a five-second window, the Game Boy Camera captures video plus three photos, which guests can then print off using a connected Game Boy Printer to take with them as souvenirs.
“In the end, the guests had a lot of fun, and especially my cousin, who also appreciates old video games, loved the Game Boy video/photo booth,” Staacks explains. “Of course, the final video with the clips from all the guests primarily used the footage from the ‘good’ camera. You would not want this memory of your wedding to be lost in 128×112 pixels, but I could use the Game Boy Camera footage to spice up the video.” And in Sebastian’s typical fashion, he provides links to everything he designed and coded for the project so that others can get in on the fun.
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