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THE IMAGING RESOURCE DIGITAL PHOTOGRAPHY NEWSLETTER
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Volume 15, Number 18 - 23 August 2013
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Copyright 2013, The Imaging Resource. All rights reserved.
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Welcome to the 366th edition of The Imaging Resource Newsletter. In this issue, we dive into an excerpt of our latest camera review for the Sony A58, which proved to be an excellent value for an entry-level DSLR, if not exactly an across-the-board upgrade to the Sony A57. Steve Meltzer treats us with the story of photographer Imogen Cunningham, who not only broke gender barriers in helping redefine modern photography, but also drew the admiration of the elite and regular folk, alike. Our Quick Hits section touches on a number of topics, ranging from Dave Etchells' take on Canon's new social network-savvy printers to a look at 10 of the best Kodak ads ever. Finally, we answer some reader mail and provide links to some of the best and most-read stories from the IR website over the past two weeks. Happy reading!
TOPICS
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Camera Review: Sony A58 Shooter's Report (Excerpt)
Feature: A Woman's Eye: Imogen Cunningham's Role in Redefining Modern Photography
Quick Hits
We've Got Mail
New on the Site
Next Issue
Signoff
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REVIEW: Sony A58 Shooter's Report (Excerpt)
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(Check out our in-depth Sony A58 review, complete with gallery photos, comparison crops, lab test results and our final conclusion: http://www.imaging-resource.com/PRODS/sony-a58/sony-a58A.HTM)
by Jason Schneider, with Dave Pardue
The new Sony Alpha A58 is something of a 'tweener. It is, by default, the company's entry-level APS-C DSLR. At the same time, it offers a ton of photographic capabilities that would also appeal to enthusiast shooters. As such, it sits in a unique position in a fiercely competitive sector of the camera marketplace, replete with formidable rivals from the likes of Canon, Nikon and Pentax.
With the A58, Sony devised a camera that delivers virtually all of the high-tech features built into the enthusiast-targeted, 16.1-megapixel Sony SLT-A57 and the consumer-friendly, entry-level SLT-A37 -- plus a number of significant technological upgrades -- at an enticing price. What they came up with is an ingenious strategy, and a remarkably adept camera that delivers impressive value for both beginners and serious photographers alike. The Sony A58 is a lot more than a so-called "price point" camera.
Full disclosure: I own a Sony A57, so going into the review I was both excited by the new model, but also skeptical of what it might leave out. Let's take a look at how the Sony A58 stood up to such expectations.
Design. The A58 is nearly identical in size, weight and form to the recently discontinued A57, and its control array is quite similar except that the positions of two control buttons have been reversed -- the Digital Zoom button is now more conveniently located atop the camera behind the shutter button collar and the Exposure Compensation button is on the sloping rear deck, next to the AEL button. The Exposure Compensation button also magnifies the displayed image in Playback mode, while the AEL button reduces the magnification.
| In comparison: Sony A57 vs. Sony A58 |
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| Sony A57 top deck |
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| Sony A58 top deck |
The mode dial to the left of the hot shoe has dropped the 3D setting which is no longer supported, in favor of Picture Effects which gives you access to the A58's eleven creative effect modes: Toy Camera, Pop Color, Posterization (Color or B&W), Retro Photo, Soft High-key, Partial Color (Red, Blue, Green or Yellow), High Contrast Monochrome, Soft Focus, HDR�Painting, Rich-tone Monochrome, and Miniature.
The Tele-zoom Continuous Advance Priority mode now has a small "8" inscribed in the multi-frame icon, rather than a "12", denoting its reduced maximum framing rate. It also has a stronger 2x crop and a reduced resolution, compared to the equivalent mode on the A57.
Note that the 2x crop must be combined with the 1.5x crop of the image sensor. Hence, when shooting in Tele-zoom mode you have a 3x crop. The bundled DT 18-55mm lens is, effectively, a 54-165mm lens in this mode.
Other external differences worth noting: The A58 has a 2.7-inch 460k-dot LCD which tilts down 55 degrees and up 135 degrees, in place of the A57's 3-inch, 921k-dot tilt/swivel LCD. There's also a single contact standard metal hot shoe, in place of the narrower dedicated Sony/Minolta multi-contact hot shoe on the A57, and the A58's lens mount is fabricated of industrial plastic instead of stainless steel.
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Sensor, processor and other key tech changes. It's clear that Sony had to shave a few bucks in production costs here and there to be able to offer the A58 at a street price of about $600, complete with an updated DT 18-55mm f/3.5-5.6 SAM II lens. By way of comparison, the A57 sold for about $800 when it was first introduced. Nevertheless, for most users, the technological upgrades in the A58 should more than make up for any deletions. These include a new 20.1-megapixel Exmor HD APS-C sensor (up from 16.1 megapixels on the A57 and A37) and an SVGA (1,440k-dot) OLED Tru-Finder EVF that -- based on my observations -- displays a wider color gamut and more subtle and accurate color gradations than the non-OLED Tru-Finder in the A57, along with the same impressive detail.
On the downside, since the A58 has the same BIONZ image processor as the A57 but upgraded resolution -- and thus, larger files sizes -- it delivers a reduced burst shooting rate of 5 frames per second. That's not terrible for an entry-level camera, though it is a compromise. Many savvy buyers may be turned off by the plastic lens mount, but it doesn't worry me that much. After all, many manufacturers have been using industrial-strength plastic mounts on lenses for years, and they're pretty sturdy and reliable in my opinion. Still, it's something to consider.
Perhaps the biggest sacrifice in terms of performance is the loss of Full HD movie recording at a 60p frame rate. But considering the A58 is bridging the gap between entry-level and mid-level models, it's not surprising, and the DSLR does still deliver 1080p video at 60i and 24p. Good video, at that. It's more important to me (and likely most still photography shooters) that the camera retained the 15-point continuous AF with three cross-type AF sensors from the mid-level A57. And that it still has multi-frame noise reduction, Handheld Twilight mode and other key features.
Handling. The Sony A58 handles very well. The fairly light, moderately-sized polycarbonate body is nicely contoured, and fits comfortably even in my smallish hands. The camera feels very solid and well balanced with the standard 18-55mm zoom, and also with the 18-135mm and 200mm lenses I mounted for comparison.
The handgrip is ideally shaped to wrap your fingers around for a secure grip. It's enhanced by an index-finger notch, a soft-textured leather-like covering, and a nicely contoured thumb rest on the back. The smooth light-touch shutter release, surrounding on-off collar, and various control buttons are sensibly positioned and clearly labeled so operation is generally intuitive and doesn't require a steep learning curve.
Sub-menu settings in the Menu or Function menus can easily be navigated and set using either the four-way toggle control and central AF/Enter button on the back, or by sliding your index finger forward to the Control Dial directly in front of the shutter release at the top of the grip. Press the ISO button and you can select manual ISO settings from ISO 100 to ISO 16,000 using either method, and lock in your setting by pressing the AF/Enter button.
I found Auto ISO a very convenient setting for shooting active subjects in rapidly changing light, and there's a second Auto ISO setting that provides multi-frame noise reduction when shooting at high ISOs. I found it to be quite effective in capturing crisp, low-noise images of stationary subjects in low light, but NR is obviously not what you want for shooting action.
EVF and LCD. The viewing system is one of the A58's most appealing features. The 100% view, high-res Organic LED electronic viewfinder is superb; I think it's the closest thing to a first-class optical viewfinder you're likely to experience in a camera of this class. Of course, it also delivers the EVF's advantages of being able to display a brighter viewing image in low light, and to preview exposure and effects changes.
The EVF's fast refresh rate means no smearing when following action subjects, and it's adjustable for individual eyesight over a wider-than-normal +/- 4 diopter range by turning a conveniently placed knurled dial at the right of the eyepiece. By turning the Finder/LCD setting to Auto, the viewing image will automatically appear on the EVF when you raise the camera to your eye and move down to the LCD when you lower the camera to observe the LCD monitor. You can also switch it manually by pressing the Finder/LCD button atop the camera.
While the 2.7-inch LCD isn't quite as large or as hi-res as the one in the A57 -- and it doesn't swivel -- for me, these things are relatively insignificant in actual use, unless you like to take "selfies" or habitually use the LCD to assess magnified images on the fly. I found that it's actually easier and more effective to do the latter using the EVF because of its higher resolution and superior color accuracy. In any case, the LCD monitor is decent; it was usually viewable and usable in bright, sunlit conditions.
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The 15-point AF system with three cross-type sensors helps make the Sony A58 fast and decisive for real-world street shooting, even at higher ISOs. |
Performance. I found the Sony A58 to be a very responsive photographic tool in almost all respects. Startup and mode switching times were sluggish, but these aren't as important measures as autofocusing speed in my opinion. The camera autofocuses and fires very rapidly even in low light, and with most low-contrast subjects, its shutter lag is practically non-existent. I mostly used Spot AF, which is the way I normally shoot, but I also tried Wide AF mode and found it to be very effective in focusing accurately and swiftly on my intended subject.
Sony claims the new 18-55mm SAM II kit lens focuses faster and more quietly than its predecessor, and in my field testing I indeed found it slightly quicker and definitely quieter to use, the latter a real plus when I shot a few Full HD 1080p video clips at 60i. Our lab testing, however, showed that the lens was soft in the corners, and exhibited significant barrel distortion at wide angle. Overall, I guess, the 18-55mm is just a run-of-the-mill kit lens. It automatically comes with the camera -- you can't buy the A58 body-only -- but your photography is going to be better served by purchasing a better Sony Alpha mount lens or two. The bundled lens simply doesn't extract the potential of the image sensor.
Want to learn more about the Sony A58's DT 18-55mm F3.5-5.6 SAM II kit lens?
Click here to see our optical test results.
In combination with its excellent EVF, shooting action subjects with the A58 gives you the uncanny sensation of grabbing images out of the air, and part of this is no doubt due to the camera's impressive AF tracking ability and its three central cross-type AF sensor. I found these cross-type sensors focused accurately and swiftly with subjects having vertical, horizontal, or oblique line patterns. No AF system is perfect of course, but when manual focus was required or desired, I simply moved the switch on the side of the lens from AF to MF and turned the front lens ring, which has a soft rubberized surface to provide a good grip. With its exquisite detail and brightness, manual focusing via the EVF was easy and satisfying.
Although it's a characteristic common to all current Sony Alpha cameras which use Translucent Mirror Technology, it's worth noting that the A58 provides full-time phase-detection AF before, during and after the actual exposure. This results in faster, more decisive AF that's particularly noticeable when shooting HD video and bursts of stills in continuous mode. This not only results in sharper images of moving subjects at the camera's top full-res burst rate of 5 fps, but also at the 8 fps burst rate in Tele-Zoom Continuous Priority, albeit with a 2X crop factor (3x, once the sensor crop is taken into account), and at just five megapixel resolution.
Another performance improvement is the Sony A58's battery life. It lasts about 690 shots per charge, which I can tell you first-hand is much better than the A57. (About 140 shots per charge, according to the CIPA ratings.) That's a huge life saver when you're on an extended shoot, or are on a trip and you can't pay much attention to such things.
Overall, I was very satisfied with the performance of the A58. It delivers very good image quality in JPEG mode, with very low noise at ISOs ranging from 100 to 800 and reasonably good image quality at higher ISOs. Most of the images I shot at ISO 3200 and 6400 showed good detail, a slight decrease in color saturation, and moderate noise depending on lighting and subject contrast. With a few low-contrast, backlit subjects I shot in low light at ISO 3200 and 6400, digital grain was fairly high although the pattern was tight enough not to be objectionable for most uses. And if you shoot raw files, there's even more to be extracted from the A58's image sensor, although the step between raw and JPEG isn't as dramatic as with some cameras.
Just how fast is the Sony A58? Click here to see our full battery
of objective performance tests conducted in the IR Lab.
With a higher pixel density than the A57, the 20.1-megapixel A58 might be expected to exhibit lower image quality at ISO settings of 1600 and higher, but the difference is not very pronounced based on my observations, and the increase in image detail at lower ISOs was gratifying. Perhaps this is attributable to the magic of imaging software. I would rate the camera's high ISO performance as good, if not outstanding. It is certainly equal or superior to many of its entry-level competitors, but I wouldn't rate it in the same class as enthusiast-level DSLRs or full-frame prosumer models.
View the IR Lab's in-depth Sony A58's image quality test results by clicking here.
Exposure and metering. I found exposure accuracy of the A58 to be commendable, and decidedly better than average for its class. I mostly used the multi-segment metering pattern that's easily selectable via the Function button, and occasionally used the spot pattern with high-contrast subjects or when correct exposure of a particular detail was important. Both modes worked flawlessly, and I was impressed with the camera's ability to deliver accurate overall exposures even with severely backlit subjects in multi-segment metering mode.
I tried the Smile/Face Detection mode with children and adults, both alone and in pairs, and it too worked very well. Face Registration also works as advertised based on my limited field experience. The latter provides a convenient way to get consistently sharp images of a particular person in a group, especially if they're all moving around.
Features. Other features which may not be unique to the A58 but were nonetheless appreciated included White Balance bracketing, which is great for shooting active subjects under mixed light sources, as well as a full range of creative Picture Effect modes. I particularly liked HDR Painting, which yields painterly effects, Pop Color (which makes colors pop), and Posterization. This last is very cool but, in my opinion, a little over the top for most people pictures. I didn't have a suitably-scenic vista to show off the auto Panorama stitching mode, but I can confirm that it works and it does let you choose the panning direction.
Note that none of these in-camera effects will work when the camera is set for RAW or RAW+JPEG image quality; you have to shoot them at the Fine JPEG setting.
Sony A58 Picture Effect Modes |
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Retro Photo |
Pop Color |
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Posterization |
Partial Color (red) |
One feature that did not work as well as I expected is Auto Object Framing, which is supposed to provide two images; the one you composed and a better-composed alternative image based on in-camera rule-of-thirds algorithms. In most cases, when this feature was turned on, the alternative rectangle did not appear and only one image was recorded. Occasionally when I attempted a really lousy composition (e.g. putting the subject smack in the center of a horizontal frame) the larger green frame did appear on the screen and two shots were captured. The Auto Portrait Framing feature in the A57 seemed to work more predictably, but I'm not sure why. (Note as I did, though, that this feature does not work in either manual or auto NR mode.)
On the plus side, the excellent performance in Handheld Twilight mode more than made up for any of these deficiencies. It combines multiple images to capture a sharper, more vivid -- but still realistic image -- of the scene, and it performed better than expected when a car with its lights on moved into the frame. I expected a blur, but instead the camera chose one image of the moving car from the sequence and sharpened it.
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The Sony A58's Handheld Twilight mode performs remarkably well, even with moving subjects. |
DRO and HDR. The Sony A58 offers several ways to maximize dynamic range. The Dynamic Range Optimizer (DRO) works in single shot mode, and can be configured to Auto or set to individual levels (1-5) depending on your individual shooting preference. Below are examples of Auto and Level 5 and, as you can see, level 5 really works hard to try and achieve a well-balanced image, rendering good exposure to different areas. This comes at the expense of higher contrast in the image of course, but it's nice to know it's there when you need it for certain shots. Meanwhile, HDR mode shoots 3 images at differing exposures and combines them into one image, and below you can see an example of HDR mode in the auto setting.
| Sony A58 - HDR / DRO modes |
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| DRO and HDR modes off |
HDR (auto) |
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| DRO (auto) |
DRO (level 5) |
Video. While I talked earlier about how the Sony A58 sacrificed some video capabilities -- not being able to record at 60p frame rate as the A57 could -- it's still a very good movie-making machine.
Paired with the updated 18-55mm kit lens, it delivers relatively smooth and quiet video. And the A58's full-time continuous phase-detection AF works better in video than most competing cameras in its class. What's more, you can use full Program, Aperture- and Shutter-priority, or Manual controls to set movie exposure just how you want it.
Summary. Where the Sony A58 really shines is in delivering an impressive value in terms of features and performance per dollar. It's a great choice for beginners and enthusiasts alike who want a camera that provides a satisfying level of responsiveness, high image quality plus plenty of room to grow. When you consider that the A58 is offered at around $600 with Sony's latest 18-55mm SAM II zoom -- albeit not a lens that will derive nearly what the camera body is capable of -- you begin to realize how far we've come in the last few years with the quality of so-called entry-level models.
Despite some of the sacrifices Sony had to make to lower the cost, I'm thoroughly impressed with the A58 and its improved resolution, electronic viewfinder, and overall performance. In fact, I have to admit it's time to trade in my trusty A57!
So what's our final verdict on the Sony A58? See our full Sony A58 review online, where you'll find a detailed breakdown of its performance and operation, image quality comparisons against other cameras, more gallery images, a list of pros and cons, and our ultimate conclusion: http://www.imaging-resource.com/PRODS/sony-a58/sony-a58A.HTM
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FEATURE: A Woman's Eye: Imogen Cunningham's Role in Redefining Modern Photography
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by Steve Meltzer
"So many people dislike themselves so thoroughly that they never see any reproduction of themselves that suits. None of us is born with the right face. It's a tough job being a portrait photographer." -- Imogen Cunningham
In her long life, Imogen Cunningham was one of America's finest photographers and one of a handful of our great portrait artists. In a career that spanned nearly 70 years she worked in almost every area of photography imaginable and in a variety of photographic styles, from soft-focus Pictorialism to sharp edge modernism. She shot everything that, as she said, "could be exposed to light." Her portraiture was sought after by the rich and famous, and her images were widely published.
Throughout her long photographic life one thing remained constant: She photographed the world with a woman's eye, from a viewpoint far different than that of the male dominated photographic world of her time and ours. Cunningham was a true original and an essential part of the development of modern photography in America. And all her life she fought against a glass (plate) ceiling and she never gave up.
Self Portrait, 1974
Photo by Imogen Cunningham, courtesy of the Imogen Cunningham Trust
I was lucky to meet Imogen when she had come to Seattle in 1973 for an exhibition of her photographs. She was 90 years old at the time, a small woman who dressed smartly for a "little old lady." She wore a long ankle length skirt and colorful, embroidered peasant vest, and her white hair neatly was coiled into a bun under an embroidered cap. But when she spoke she was nothing like any little old lady I had ever met. She was funny and lively and peppered her conversation with a variety of four-letter words. I fell in love with her on the spot.
Independent and self-reliant
Born in Portland, Oregon, on April 12, 1883, Imogen was just 6 years old when her parents moved to Seattle. At that time the city was hardly a city, but rather a port and the gateway to Alaska and Yukon gold fields -- very much part of the "last frontier" of America. Her parents were no-nonsense, hard-working people who bought land and built a home and raised their daughter to be independent and self-reliant.
Imogen purchased her first camera when she was 18 years old. It was a $15 mail-order kit that consisted of a wooden 4x5-inch format camera with a rapid rectilinear lens and a set of glass plates. Though she taught herself how to use the camera, she wasn't completely bitten by the photography bug. She instead decided to attend the University of Washington to study chemistry and botany.
During her senior year, as she was writing her thesis on photographic processes, she discovered the photographs of Gertrude Kasebier -- arguably the mother of modern American photography. She decided on the spot to become a photographer in earnest. Upon graduation, she talked herself into a sweet job as a darkroom assistant in the Seattle studio of Edward S. Curtis, a photographer famous for his photography of North American Indians.
However, lab work quickly bored Imogen and she decided to do something unheard of in her day -- she went off alone to Germany to study photography. She spent a year at the Technische Hochschule in Dresden and returned home in 1910, where she opened her own portrait studio and became one of the first female professional photographers in America.
Bohemian controversy
Imogen was wooed by Roi Partridge, a Seattle artist and printmaker. The couple were what was called in those day "Bohemians," free spirits who were more concerned with art than commerce. As if to prove this, one day they climbed up to the Alpine wild flower fields on Mt. Rainier and -- despite freezing temperatures -- took off all their clothes. Roi posed for Imogen as a mystical woodland faun. In one picture he appears to be magically standing on top of the water in a lake, when actually he was barefooted on a small floe of ice. After returning home, several of these photographs were printed in a Seattle newspaper, the upscale and arty Town Crier. Her images caused a scandal, one that centered on Imogen because it was unheard of at the time for a woman to photograph a nude man. (Although the opposite practice was quite acceptable.)
Roi Partridge on Mt. Rainier, 1914
Photo by Imogen Cunningham, courtesy of the Imogen Cunningham Trust
"A critic on another paper wrote a very harsh criticism -- a terrific tirade on my stuff as being very vulgar," Imogen said about the incident. "It didn't make a single bit of difference in my business. Nobody thought worse of me." Imogen was right. In 1914, her photographic efforts were rewarded with one-woman exhibitions at the Brooklyn Institute of Arts and Sciences and at the Portland Art Museum.
Besides the nude shots of Roi, Imogen often took nude self-portraits, something she did throughout her life -- although as she got older she more often appeared clothed than not. As her granddaughter Meg Partridge, director of the Imogen Cunningham Trust said: "Her self-portraits really show her sense of humor, and she was smart about her career. She actively published her work in magazines and newspapers. She had a good eye, but she was a great editor. She knew how to edit her work, so what the world sees is an impressive selection of work."
Imogen married Roi in 1915, and months later gave birth to her first son, Gryffyd before the family soon moved to California, where Roi accepted a faculty position at Mills College. She later had twin sons, Padraic and Rondal. While Roi taught, Imogen was a stay-at-home mom. To keep her passion for photography alive, she photographed her kids and the plants in her garden.
"The reason during the [1920s] that I photographed plants was that I had three children under the age of 4 to take care of, so I was cooped up," Imogen said. "I had a garden available and I photographed them indoors. Later when I was free I did other things."
Aloe Shoots, 1920s
Photo by Imogen Cunningham, courtesy of the Imogen Cunningham Trust
Once free, Imogen spent her time taking pictures of a wide range of subjects -- industrial scenes, more nudes, more plants and more portraits.
Group f/64 and a commitment to "pure" photography
But at this time, America was facing the Great Depression, and in San Francisco a loosely affiliated connected group of photographers began discussing how they could create a new, more relevant, more meaningful kind of American photography to capture the reality of the world around them.
The outcome of these discussions was that Ansel Adams, Edward Weston, Willard Van Dyke, Imogen and several others founded Group f/64 in 1932. Rejecting what they perceived as the dominant "soft-focus pictorial" style they proposed a modern style of "pure or straight photography" to meet the challenges of the day. In other words, good-bye hand-colored, soft-focus, lyrical pictures, and hello to hard-edged, real-world ones.
They chose the name Group f/64 to reflect their commitment to these sharp, deeply focused images. Ironically, most of the group -- including Imogen and Adams -- had worked in the soft-focus style earlier in their careers. Moreover, in "creating" this approach they obfuscated the fact that dozens of American and foreign photographers had always worked in sharp focus. That included everyone from Timothy O'Sullivan to Eug�ne Atget to Charles C. Ebbets.
While Group f/64 gave many photographers a chance to have their work seen for the first time, Imogen was already a established artist and she was restless by nature. So despite the acclaim she received for her botanical images, she explored other areas of photography.
"Ansel once said to somebody that I was versatile, but what he really meant was that I jump around," Imogen said. "I'm never satisfied staying in one spot very long, I couldn't stay with the mountains and I couldn't stay with the trees and I couldn't stay with the rivers. But I can always stay with people, because they really are different."
The call of Hollywood
Around this time her portrait work attracted the attention of the editors of Vanity Fair and in 1932 they signed to photograph the movies stars of the day�without makeup. "I was invited to photograph Hollywood," Imogen said. "They asked me what I would like to photograph. I said, Ugly men."
Among the ugly men she photographed were actors Cary Grant, James Cagney and Spencer Tracy. The only truly "ugly" man she photographed was Wallace Beery.
Spencer Tracy, on location, 1932
Photo by Imogen Cunningham, courtesy of the Imogen Cunningham Trust
In 1934, Vanity Fair asked her to come to New York for some work and she was all ready to go. But Roi opposed it, demanding that she wait until he was able to go with her. She refused and left for New York by herself. There had long been tensions between them, their careers pulling them in different directions, and soon after the New York trip they divorced.
A lifelong friendship with Ansel
Imogen and Ansel Adams had become friends well before Group f/64, and it was a friendship that would continue all their lives. But they were an odd couple. He was formal, reserved and conservative while she was blunt, a free spirit and a radical.
"There are certain things you don't discuss with Ansel, especially if you don't agree," Imogen said.
However, despite a lot of disagreements, they remained close, and in 1945 Ansel asked Imogen to join him on the faculty of the art photography department of the California School of Fine Arts (along with Dorothea Lange and Minor White). She accepted the offer although she had definitely un-Adams ideas about teaching photography.
�"I don't think there's any such thing as teaching people photography, other than influencing them a little," she said. "People have to be their own learners. They have to have a certain talent."
Portrait photographer and feminist
At her core Imogen was a portrait artist, and over the years she produced a pictorial Who's Who of modern 20th century art and photography. She made portraits of artists, musicians, dancers, and photographers -- everyone from Alfred Steiglitz to Frida Kahlo to Martha Graham to Brassai to the German photographer August Sander, and of course American photographers like Adams, Weston and Dorothea Lange.
"The fascinating thing about portraiture is that nobody is alike," Imogen said.
Frida Kahlo
Photo by Imogen Cunningham, courtesy of the Imogen Cunningham Trust
She was an early feminist who despaired of the way women were treated and especially in the world of the arts. In 1922, when she went to visit and photograph Edward Weston, she arrived to find Weston and his current lover and model Margrethe Mather waiting for her. �Although Weston was married, and the father of several children, he had a string of affairs -- which his then wife Flora appeared to tolerate. Now largely forgotten, Mather was also a photographer who had helped Weston move away from soft focus photography.
Imogen had come at a crucial moment in Weston's affair with Mather. In Imogen's poignant images of them, their faces reveal the impending collapse of their relationship. Weston is looking off into the distance ready to move on, rather cold and indifferent. Margrethe is distressed and lost. These images are remarkable in capturing this painful and intimate moment in a way I don't remember ever seeing in another photographer's work.
It is a relationship seen photographically from an independent woman's point of view, and it is evident that no matter how much she disliked Weston's perfidy, Imogen was more disturbed by Mather's passivity.
Edward Weston and Margrethe Mather
Photo by Imogen Cunningham, courtesy of the Imogen Cunningham Trust
A master's wisdom and restless eye
When I met that time in Seattle, she walked with a cane but retained her sharp tongue and her memories. She told me: "Once, a woman who does street work said to me, 'I've never photographed anyone I haven't asked first.' I said to her, 'Suppose Cartier-Bresson asked the man who jumped the puddle to do it again -- it never would have been the same. Start stealing!"
Despite her age, she still had a restless eye. Taking her around Seattle's University District, she reminisced about how much it had changed since she was a student there. Yet while she spoke, she kept looking down at the Rolleiflex hanging around her neck. As we walked, she cradled it in one hand, gently turning with the shutter speed dial with her fingers. Every now and then she'd stop, lean on her cane and looking into the viewfinder and snap a picture. Occasionally, she'd look up at me and smile.
Is there any wonder why I -- and so many others -- loved her?
To see many more of Imogen's wonderful images, and to watch an excerpt from an Academy Award-nominated film about her life, read our full article online.
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QUICK HITS: The most interesting, most read articles on the IR site in the past two weeks
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Canon G16 and S120 previews: Revamped enthusiast compacts promise better performance, smoother Wi-Fi sharing
By Mike Tomkins
Enthusiasts on the hunt for a second camera, take note: Whether you prefer bells and whistles or something you can slip in your pocket, Canon has just announced new enthusiast compacts made with you in mind. Both the Canon G16 and Canon S120 follow in the footsteps of Dave's Picks award-winning cameras, and both bring changes that should make them even more fun to shoot with!
Canon Power Shot G16
The latest update to Canon's popular, enthusiast-oriented PowerShot G-series compact camera line, the Canon G16 follows in the footsteps of the existing G15. For the first time in a G-series camera, it provides built-in Wi-Fi wireless networking, acknowledging the fact that social networks aren't just the domain of amateurs.
Although it has a similar 12.1-megapixel image sensor and 5x zoom lens pairing to its predecessor, the PowerShot G16 also includes a new DIGIC 6 image processor, which allows for faster autofocusing, burst shooting, and movie capture. Other changes include a variety of new shooting modes, and reworked rear-panel controls.
Available from October 2013, the Canon PowerShot G16 will cost about US$550 in the US market. If you want an enthusiast compact that shoots like your SLR, you'll want to read our Canon G16 preview!
Canon PowerShot S120
The 12.1 megapixel Canon S120, meanwhile, retains a pocket-friendly body very similar to that of its predecessor, the Canon S110. As with that model, it's aimed at enthusiasts who want a larger sensor than the typical compact, but who don't need all the bells and whistles of a G-series camera.
Changes include a new image sensor, brighter lens, faster DIGIC 6 image processor, higher-res LCD, refined Wi-Fi feature set, new battery pack, and slightly better battery life. The PowerShot S120 also has a brand new body with a dual-textured front panel, and a slightly smaller rear thumb grip.
Likewise available from October 2013, the Canon S120 is priced at US$450 or thereabouts. If you're in need of a camera that will disappear in a pocket until it's needed, read our Canon S120 preview!
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10 of the best Kodak ads of yesteryear
By Tim Barribeau
News landed this week that Kodak would be pulling itself out of bankruptcy by leaving consumer markets behind, and focusing on imaging technology and commercial printing. While Kodak film is still going to be manufactured by Eastman Kodak, it'll be under the control of Kodak's own UK pension plan, which bought that division earlier this year. (Yes, it's a bit confusing.)
So, with Kodak poised to become a shadow of the household name it once was, we thought we'd take a few minutes to look over some of the best Kodak advertisements from years past. These ads, which stretch from the 1950s all the way up to the 80s, give an idea of just how big of a name Kodak was for such a long time � and how many incredible (and forgettable) products they produced over the years.
See the 10 Kodak ads here: http://www.imaging-resource.com/news/2013/08/22/The-ten-best-Kodak-ads-of-yesteryear-VIDEOS
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How Canon has made photo printing relevant again with its social network-savvy printers
By Dave Etchells
With the two printers Canon announced earlier this week -- the Pixma MG7120 and MG5520 -- the company has for the first time made photo printing an integral part of the social networking that hundreds of millions of people use daily. This is important, not only for Canon and users, but the industry as a whole. Canon's pointing the way for printers to remain relevant in the Internet/social sharing era.
For years now, printer makers have been watching the percentage of photos actually printed plummet. Sure, we're all taking vastly more pictures than at any previous time in history, but precious few of them ever become physically tangible as prints. If you're in the business of making printers, this is what could safely be called a Bad Thing.
Read the full story here: http://www.imaging-resource.com/news/2013/08/22/how-canon-made-photo-printing-relevant-again-social-network-savvy-printers
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Photographing the 19th century 'Street Life' of London: John Thomson's social documentary images
By Steve Meltzer
You may have never heard of John Thomson, a pioneering Scottish photographer and geographer who traveled extensively throughout Asia in the latter part of the 19th century taking pictures. He worked extensively in Cambodia, Thailand, Taiwan and China and later Cyprus, photographing the landscapes, people and artifacts of these nations. His most famous work, the collected images that appear in the book "Street Life in London," is an example of early social documentary photography -- the kind of work upon which photojournalism was later built.
Thomson's street photography predates the work of Parisian photographer Eug�ne Atget by several decades. And like Atget, Thomson worked with a large format, glass-plate wooden camera mounted on a heavy wooden tripod. This equipment, naturally, didn't allow him to capture Henri Cartier-Bresson's "decisive moments" or to "shoot fro
m the hip" like Garry Winogrand. Instead, the bulky camera dictated a slower, more methodical approach: Thomson had to stop people on the street and ask them to pose for him. When they agreed, and some were probably paid to do so, he would set-up the image he wanted and make the shot.
See Thomson's images and read his story here: http://www.imaging-resource.com/news/2013/08/09/john-thomson-photographing-19th-century-street-life-london
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WE'VE GOT MAIL: Questions from readers, answers from IR
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Please send us your camera and photography questions and comments (editor@imaging-resource.com). Not only will we respond to each and every one of your letters, but we'll also publish the best ones here as a resource for all our readers.
Re: Panasonic GH3 review
IR team --
Thanks for yet another good review! I am still interested in the new GX7, as I have the GX1 and I love it on my digiscope. I also was saved on a recent trip to Maine, by having it as a backup (with the 100-300mm lens) to my DSLR system which developed serious focus problems.
Anyway, even though I seldom shoot more than a little video clip (I have no idea what to do with them) I am curious about this statement: "Unfortunately in European countries using the PAL system, tax/tariff considerations limit recording duration to 29 minutes 59 seconds..."
How can where you are make any difference in how your camera performs? I am completely confused by this. I travel abroad every couple of years and no one has ever come up to me and told me how to shoot video for that manner! And I had no problem putting any of my work into my laptop or emailing it home -- except for those little video clips, which I don't know how to email them even if I wanted to.
Keep up the good work and get your hands on the GX7 as soon as possible, please.
Nick Baldwin (long-time reader)
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Hi Nick --
You're naturally confused about the 29'59" limit on recording, because it in fact has nothing to do with actual camera performance. The issue is that there's some sort of a very steep tariff on "video" devices, which are defined as cameras capable of recording 30 minutes or more of video at a time. To avoid the tariff, camera makers limit the maximum video recording time on cameras sold in the Euro zone to 29 minutes and 59 seconds. Usually, they don't bother making a distinction, and just limit video recording period, but Panasonic decided the rest of the world shouldn't be penalized for the European tariff, so removed that limitation from cameras sold in other parts of the world.
We're as eager to get the GX7 tested as you are to see the results. It looks like it's going to be a fantastic little camera. We don't have any ETA for posting our results for it yet, but stay tuned!
-- Dave
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Compact with an eyepiece?
I have an unsteady hand. Is there any small compact single lens camera that has an eyepiece?
Lawrence Sachs
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Hi Lawrence --
As zoom lenses have gotten longer, the number of cameras with optical viewfinders have decreased dramatically. There are some that have electronic viewfinders, though, which would probably accomplish the same thing. The recently-announced Panasonic LF1 is very compact, and has an electronic viewfinder. As a follow-on to the LX7, we're expecting great image quality. Based on what we know from the LX7, an LF1 is probably what I'd go for if I were looking for something with your criteria.
I'm not sure, though, maybe by "single lens", you mean "SLR style"? If so, then the Canon SL1 is about as compact as an SLR gets, so it might be an option for you. You should also seriously consider some of the mirrorless models on the market too, though, because the entire systems for such cameras tend to be smaller, since the closer lens-sensor spacing and slightly smaller sensors mean lenses can be much more compact. Of those, the recently-announced Panasonic GX7 could be a great option. The Olympus OM-D E-M5 is a really excellent mirrorless model, and the Micro Four Thirds lenses from Olympus and Panasonic are generally quite good optically. Another great option would be the Sony NEX-6, which is quite compact, and has great image quality.
I hope I answered your question, one way or the other -- let us know if I didn't.
-- Dave
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Seeking underwater camera recommendation
Dear Dave --
I have enjoyed and profited from your newsletter, although most is well beyond our expertise and usage. My wife and I are ardent, but unsophisticated photographers using point-and-shoot longzoom cameras for travel, animals, and overseas volunteer work.
I am asking for help because I am looking for a moderately priced camera for a specific use. Most reviews cover many more facets and we need help on just one -- underwater shooting.
My wife took to snorkeling at age 70. Now, 10 years later, we will be going to a number of places where an decent underwater camera would be great to have. It doesn't need to be fancy, but one that is easy to handle. We tried a $150 Kodak, but keeping it on its underwater setting meant missing most action. Have you done any comparison reviews regarding underwater? I have seen ads for Olympus' Tough series and have physically looked at Nikon Coolpix AW110.
Any advice you can give would be much appreciated.
Warm regards,
Morris Taber
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Hi Morris --
We did a roundup of the then-available underwater models about a year ago, which you can find here: http://www.imaging-resource.com/PRODS/waterproof-2012/waterproofA.HTM
In that roundup, the Canon D20 came out best overall, although it was a close contest in many ways. None of those models were especially fast at focusing, but the D20 was better than many, with full-AF times of 0.33 - 0.39 second. We liked the Olympus TG-1 a lot, particularly for its print quality, especially as we went to higher ISO. Unfortunately, though, we had some problems with exposure with it, so only ranked it No. 3. Last year's Nikon AW100 did quite well in all our photo tests, but two different units leaked on us, so we rated it last. Others have rated its AW110 successor quite well, and one would have to expect that Nikon would have addressed the leak problems of the prior model.
As it happens, we're just in the process of doing a waterproof roundup for this year, but don't have all the shots taken and data analyzed yet. Stay tuned for that, as we hope to have it published very soon.
-- Dave
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NEW ON THE SITE
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At http://www.imaging-resource.com/new-on-ir you can keep track of what's new on our main site. Among the highlights since the last issue:
- DIY: How to use a toy model and a forced perspective to create a high-end visual effect (http://www.imaging-resource.com/news/2013/08/22/how-to-use-a-toy-model-and-a-forced-perspective-to-create-a-high-end-visual)
- Lens Preview: Is the Canon 55-250mm IS STM tele zoom an ideal complement to the Canon 18-55 IS STM kit lens? (http://www.imaging-resource.com/news/2013/08/22/canon-55-250mm-f-4-5.6-is-stm-lens-preview)
- Industry News: Leaner, meaner Kodak leaves consumer space, prepares to emerge from bankruptcy (http://www.imaging-resource.com/news/2013/08/21/leaner-meaner-kodak-leaves-consumer-space-prepares-emerge-from-bankruptcy)
- Animals: Famous 'underwater dog' photographer turns lens to helping animal shelters (http://www.imaging-resource.com/news/2013/08/21/famous-underwater-dog-photographer-turns-lens-to-helping-animal-shelters)
- Photos: Here are the impressive winners of the 2013 iPhone Photography Awards (http://www.imaging-resource.com/news/2013/08/20/here-are-the-impressive-winners-of-the-2013-iphone-photography-awards)
- Lens Review: Sony 18-55mm SAM II kit lens for Alpha APS-C DSLRs gets an update (http://www.imaging-resource.com/news/2013/08/19/lens-review-sony-18-55mm-f-3.5-5.6-dt-sam-ii)
- Industry News: The trolls win? Red's Jim Jannard steps down, saying 'they have gotten to me' (http://www.imaging-resource.com/news/2013/08/19/the-trolls-win-reds-jim-jannard-steps-down-saying-they-have-gotten-to-me)
- Photos: See New York City then and now: Fascinating photos show side-by-side how the city looked in the early 1900s compared to today (http://www.imaging-resource.com/news/2013/08/19/see-new-york-city-then-and-now-fascinating-photos-1900s-compared-to-today)
- Humor: Photographer uses drone for wedding shoot and it ends in epic FAIL (http://www.imaging-resource.com/news/2013/08/16/photographer-uses-drone-for-wedding-shoot-and-it-ends-in-epic-fail-video)
- Industry News: Tamron puts an end to the warranty repair blues with speedy turnaround pledge (http://www.imaging-resource.com/news/2013/08/14/tamron-puts-an-end-to-the-warranty-repair-blues-with-speedy-turnaround-pled)
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NEXT ISSUE
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Our next issue will be mailed to you in two weeks on Friday, September 6. See you then!
SIGNOFF
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That's it for now, but between issues visit our site for the latest news, reviews, or to have your questions answered in our free discussion forum. Here are the links to our most popular pages:
Newsletter Archive: http://www.imaging-resource.com/cgi-bin/dada-nltr/mail.cgi/archive/irnews
Daily News: http://www.imaging-resource.com/news
SLR Gear: http://www.slrgear.com
New on Site: http://www.imaging-resource.com/new-on-ir
Review Index: http://www.imaging-resource.com/camera-reviews
IR Photo Contest: http://www.dailydigitalphoto.com
Google + http://plus.google.com/+imagingresource
Facebook: http://www.facebook.com/imagingresource
Twitter: http://www.twitter.com/IR_Lab
Happy snapping!
Dave Etchells and Roger Slavens
editor@imaging-resource.com
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