Sublime Text is… sublime. Since most software is so bad, one doesn’t even notice it until something comes really good along. Running Sublime Text 2 for the first time felt like the first time I tried Google Chrome 1.0 and admired how a fully featured web browser was faster than Windows Explorer (Chrome did put on some weight in the last few years, though), or my warming up to Enso and finding the whole concept of a ‘Start Menu’ laughable and hardly to be missed when Windows 8 comes along. In fact, I gave Sublime Text’s developers their money after just minutes of minor tinkering which is probably a speed record in my opening-wallet-for-bits department. ST2 feels like an extremely good piece of palpable engineering, carrying the same transcendent Quality of intelligence and solidity one finds in a 1970s Bang&Olufsen stereo or a Voigtlander Bessa camera. One just feels respected by the makers of these things, and are given reliability and an ease-of-use of the intelligent and demanding kind (for instance, Sublime Text doesn’t have a UI for preferences and presents you with an auto-updateable configuration text file instead — but if you are a programmer who feels an UI is needed to set his editor’s preferences, perhaps you should take a good hard look at your choice of career or hobby).

Sure there are plenty of other programmer-oriented text editors. Notepad++ is okay and it was perhaps the piece of software I used the most until now, but always with a suspicion it wasn’t good. Vim on the other hand felt like it once was a good piece of software but is now locked in its community esoterica, while Acme looks like it might actually be good but at the same time like too little too late. How did I survive before multi-selection and without a command palette? Indeed.

Fifty years into interactive computing history a text editor attains greatness. How many centuries does this mean we’ll have to wait for good video editing software?

Ryan Armand’s Great is a deliriously — well — great comic about success, the ramen noodles industry and street gangs. I couldn’t stop reading until the end. (via Trivium)

I rarely mention things about my hometown, even though I sometimes post planimetric pictures of its run-down façades. However, this 1945 photo by Helga Glassner did somehow capture my interest. In it you can see the southmost part of Avenida dos Aliados and the Praça da Liberdade at its end, and beyond that — at the top right of the picture — it seems the Douro river can be seen. And that strikes me as odd. Even though the picture seems taken from the clock tower of the City Hall building at the north end of Aliados, the building was still under construction in 1945. Was it taken from a crane, perhaps?

Having my studio in a building located in the vicinity, I find it nice to remember the time, not long ago, when there were trees and a bit of gardening in Aliados, instead of just the drab granite pavement that greets me as I leave the subway station every day. (via Pedro Quintas)

Recently I made the decision to dedicate a few of my older videos to the Public Domain. This meant getting formal permissions from the people who contributed to the making of those videos and a small amount of reediting to replace those bits that weren’t PD-kosher (i.e. stuff I used that had Creative Commons licenses).

Life is Change is the first of my videos to go full-blown Public Domain (through the CC0 Universal Dedication). Even though many web services encourage their use (and some don’t even allow you to check a Public Domain option) I am not at all interested in the common Creative Commons licenses, as I feel these encourage a ‘free-ish culture’ with strings attached. I believe your stuff should be either free or not free. Public Domain or Your Domain.

So enjoy Life is Change: Remix, redistribute, do whatever you want. I have made some downloads available at They’re yours.

Closed I Aug 4th

Triangle Aug 4th

Closed II Aug 4th

Bikes Aug 4th

Rua da Boavista Aug 4th

Submarine Aug 4th

Closed III Aug 4th

Legs Aug 4th

Yellow doors Aug 4th

Closed IV Aug 4th

Mail and Toys Aug 4th

Closed V Aug 4th

More photos taken with the Voigtlander Bessa-L, this time without the faux black & white.

This photo makes perfectly clear how the Industar lens, made before advanced optical coatings were commonplace, is soft: the diffusion in the edges around the sky isn't due to any kind of post-production effect. The soviet lens does hold very well in the other pictures, though.

Van Aug 2nd

Kiosk Aug 2nd

Tiling Aug 2nd

Steps Aug 2nd

Mural Aug 2nd

Recently I bought a Voigtlander Bessa-L camera body, getting it for quite cheap at a used cameras shop here in Porto. I found it the kind of incredibly well-made object I had to own, but of course a camera body is useless without a lens, so I had to find one. Voigtlander has incredible wide-angle lenses for it, but at more than $500 that's more than I ever paid for one, even for my frequent use Canon DSLRs. I scoured eBay for cheap compatible Soviet lenses, and found a mint Industar-61 LD for $30. At 55mm, it's perhaps too narrow-angle for use with a finderless camera, but luckly I have the viewfinder from my Yashica Electro35 kit, with 38 and 58mm guides, so the final setup works like a charm, even if it looks like a retro mutant camera.

Since M39 (or LTM — Leica Thread Mount) lenses are incredibly expensive unless you go for the Soviet stuff, I'll also want to try a couple of M42 lenses I own, and perhaps stay on the lookout for a M42 wide-angle. If you plan on doing the same, beware though: you need a real M42 to M39 adapter, not the cheap stuff sold in kilograms on eBay. Since M42s are SLR lenses, in order to focus properly (or at all!) they need to sit much farther from the Bessa-L body than where a simple adapter would place them. The proper adapters will cost around $50 and are rare so you'll need to Google for them — just confirm they're around 2cm thick in order to compensate for the flange distance!

The Bessa-L having no finder means you have absolutely no way to focus other than estimating distances and dialing those in — which is yet another good reason to use a wide-angle lens. As I took my camera for a test walk I had to make do with what I had, though: an overcast day and the slow 100 ISO film (so I couldn't stop down the aperture much) made things even more difficult. Anyway, I'm pleased with the first results. The lens seems a bit soft but still better than expected considering how cheap it was, and the exposure metering seems almost as accurate as its reigning champion in my collection — the Electro35, with its analog rather than discrete shutter speeds (a feature which will always be on top of my digital camera wishlist). And I'm especially pleased I didn't make many focusing mistakes.

The Bessa-L is becoming my favourite film camera from my colection, even if using it is highly technical: that means serendipity is strong with this one.

Sometimes I find David Malki’s Wondermark webcomic too busy and text-heavy, but often it pays off to stop and read instead of skipping to the next item on my feed: here’s The Winning Catchphrase.