Lives in United States United States
Joined on Aug 12, 2005


Total: 33, showing: 1 – 20
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Wow, she sure worked hard on her lighting -- such subtlety! And
the poses -- INSPIRED!!! I wonder how much time was spent deciding
on whether to use make-up or shoot them au natural? How about those backgrounds -- she must have spent weeks doing location scouting. And the
camera positions -- view camera dropped front from phtotgrapher eye-level? I haven't seen such beautifully bored expressions since Diane Arbus.
My, my -- what sophisticated aesthetic judgments. The jury must have had a such a difficult time reaching it's decision given the chairman's underlying concept:
"At a moment when the portrait image dissipates itself in an economy of narcissism and fractal celebrity, Rineke Dijkstra reminds us of the photographic portrait’s public potential,’ said Duncan Forbes, Chair of the Jury."
Yup -- economy of narcissism and fractal celebrity -- that's what we're all about.
But wait "Rineke Dijkstra pursues an existential photography," -- maybe that's
what my images are lacking

Link | Posted on Mar 11, 2017 at 12:09 UTC as 84th comment | 1 reply
On article Throwback Thursday: Minolta's prosumer DiMAGE 7 (177 comments in total)

The A2 was the last and best version. Two auxilliary lenses were available a tele which gave 300mm at 2,8 and a wide which was about 21mm -- both were big, heavy and inconvenient -- but they were the best aux lenses I've ever used. If Sony were to re-issue this camera with the latest/greatest sensor, OLED EVF and RAW+jpg I'd be interested. Unfortunately 'the mind of Minolta' didn't seem to be part of the Sony organization's inheritance -- groundbreaking designs like the Minolta Spot Meters, Color Temp Meter and Beseler/Minota 45A were abandoned. People forget that before Sony teamed up with Zeiss, Minolta had a fruitful relationship with Leica.

Link | Posted on Feb 13, 2017 at 12:27 UTC as 10th comment | 1 reply

The Turtleback was an interesting idea -- but Sony did it right with the Sony Alpha QX1

Link | Posted on Jan 26, 2017 at 11:21 UTC as 21st comment

"They brought graduate students on board and acquired more and more lenses—not an easy task, at $12,000 a pop—eventually gathering 48 of them"

Too bad they didn't buy them from Amazon and saved $2K each.
Maybe they got a grant -- so keep an eye out for them at the government
surplus auctions. It's only tax-payer money -- plenty more where that came from.

Link | Posted on Oct 26, 2016 at 11:10 UTC as 49th comment | 5 replies

There's only one thing cooler than being a photographer and that is being a designer -- which is only one step less cool than being an artist.

Link | Posted on Oct 14, 2016 at 09:24 UTC as 26th comment
In reply to:

Autriche78: This delay highlights one issue, which is the insane degree of inter-dependence that ensues from single-source manufacturing. When ONE facility going offline for whatever reasons can cause these kinds of disruptions across a large sector of ANY industry ( Fuji is raising their prices as a result the same event, supposedly ) , that should be a warning to us that globalization isn't all it's cracked up to be. I hope for all our sakes that pharmaceutical companies that produce life-saving medications don't have similar reliance on single production facilities. And if they do, that they have more brains than to situate them someplace where earthquakes and natural disasters are a frequent occurrence.

This reminds me a bit of a different problem, beach erosion, and of the folks who keep building houses as close as possible to the oceanfront and then complain because they can't get homeowner's insurance.

"Dr. Yusuf K. Hamied, chairman of Cipla, one of the world’s most important suppliers of pharmaceutical ingredients, says his company and others have grown increasingly dependent on Chinese suppliers. “If tomorrow China stopped supplying pharmaceutical ingredients, the worldwide pharmaceutical industry would collapse,” he said."

Link | Posted on Aug 31, 2016 at 16:10 UTC
On article Photoshop CC 2015.5.1 available (89 comments in total)

Still no history brush for 16bit

Link | Posted on Aug 10, 2016 at 05:43 UTC as 13th comment
In reply to:

Gatoraied: I had my own darkroom back in the early 60's and worked as a commercial photographer. I sent all color work to Rochester and only did my B&W's. Film was 35mm, 620, 120. Did lots of dodging and burning which worked quite nicely. When seeing Adams' multi light & toggled enlarger/projector light array I thought " Ahhh, thats how he did it!". Of course never using 8x10 negatives the thought never crossed my mind but it was brilliant!. For years many of us in the business knew Adams manipulated his photographs but could never quite nail down how it was done. Of course anyone who worked photography knew getting Adams kind of exposures were next to impossible and just thought he performed some magic in the darkroom but never realized that using that toggled lighting was one of his creations. Interesting to know the rest of the story. BTW, I wonder if National Geographic will purge all of Adams' photos from their archives?

The preferred lightsource for 4x5 and smaller was the Ferrante Codelite head. As for his darkroom, it was far from being state of the art for the time; rather, it was more of an upgrade from what was available to commercial labs in the 40's. Hard to believe he opted for a magnetic wall rather than a vacuum easel but he wasn't making murals as big as the commerical labs. The grain focusing device he was using is now called the Peak Critical Enlarging Focuser and is still available at BH. And temperature control wasn't a problem -- anyone doing serious work had thermostatic mixing valves. Similarly, the Thomas Duplex Sodium Vapor Safelight was preferable to those Kodak drop-lights. Before you get all sentimental over his prints, take a look at the work of others who worked in platinum -- or in dye transfer for color. AA's work was crisp -- but there was a whole 'nother aesthetic which eschewed this. AA made fine prints, but so did many, many others.

Link | Posted on Jul 10, 2016 at 11:10 UTC
On photo Streets of Burano in the Streets #3 : Streets in colour challenge (4 comments in total)

If you're going to go overboard in post (or strength of creative filter), why not have the sky match its reflection in the water? It's easy, use Nik Viveza, put grouped control points in the sky and bring the brightness down. Try it -- you'll like it. When faking color and saturation, at least be consistent.

Link | Posted on May 31, 2016 at 09:38 UTC as 1st comment
On article Striking: Photos from a lightning hotspot in Venezuela (34 comments in total)

I don't know how reliable the Weather Channel is

but they have this: "Studies have shown that Florida is the state where you're most likely to get struck by lightning, but there are places elsewhere in the world where lightning flashes even more often."

There's been quite a lot of lightning the past two nights -- flashes every 2-4 seconds for 30 minutes -- mostly seem concentrated around Mara del Lago. Maybe it's nature abhoring a vacuum.

Link | Posted on May 24, 2016 at 12:08 UTC as 5th comment

In situ copying of 'masterpieces' -- ridiculous.
I wonder who retouches the off color specular
reflections of the ambient light? Too bad the
camera doesn't generate a color patch which
could be used to calibrate the viewing device for
accurate rendering of colors and contrast.

If this

is the best they've got, I'm not impressed.
And does Google own the copyright on the digital version?
Check out this from the museum at Cornell University

Link | Posted on May 19, 2016 at 11:05 UTC as 12th comment | 1 reply
On article Manfrotto adds friction arms to its accessory lineup (11 comments in total)

Is it friction only, like the articulated arms, or do they use a locking system like the ball bearing race used in the magic arms?

Link | Posted on Jul 3, 2015 at 12:44 UTC as 7th comment

"One Man Band"

It's what the post-modernists call 'a masterpiece'. Should sell many copies.

Take a concept and craft an object (photograph) which, at a sense perception level, clearly expresses the idea to the viewer. What sets this image above similar works is the variety of poses and the clever appropriateness of those poses. It also exploits a feature of our medium: a unique ability to render enormous amounts of detail. It also makes evident that photographs are not necessarily truthful renditions of reality.

Would it have detracted from the viewers experience or the theme if the members of the actual orchestra had been photographed wearing masks of the same face? Would Valery Gergiev have thought it amusing if it were his face? Had it been painted, would it be considered Surreal(ism)?

I'm surprised no audio is supplied -- oops, that would make it multi-media and not photography...

I have posted a link at -- and await their comments.

Link | Posted on Jun 6, 2015 at 11:34 UTC as 45th comment
In reply to:

jeffcpix: A bit restrictive -- having to always put the subjects dead center in the image lest they fall into the swirly zone. Much better results from PS Radial Blur on a separate layer.

True -- but if you watched the video, you'd see that there are only two images which have off-center subjects... perhaps because the swirl looks rather odd when only a portion of it is seen. But by all means, if that's the look you want, spend the money and show us how well it works for you.

Link | Posted on May 30, 2015 at 11:17 UTC

A bit restrictive -- having to always put the subjects dead center in the image lest they fall into the swirly zone. Much better results from PS Radial Blur on a separate layer.

Link | Posted on May 29, 2015 at 11:24 UTC as 25th comment | 4 replies

TTL would make it much more useful. No specs on how long the arms are -- could be very handy for use as copy lighting. How about a filter slot for polarizing? Maybe a built in slave that ignores pre-flash or pc cord plug? Good idea which needs to be made more 'feature rich'. Probably needs to be used carefully -- looks like it could easily rip the hot shoe off the camera -- I'd consider using it mounted on a bracket instead of the hotshoe.

Link | Posted on Apr 9, 2015 at 10:30 UTC as 11th comment | 1 reply
In reply to:

nerd2: Digital already surpasses film in every aspects (resolution, dynamic range, noise) and can closely simulate any film we had. I think we should ban film photography, just for environmental reasons.

If the studios and directors would like to assure the supply of film, they should consider buying the Kodak plant -- I should think that Kodak would sell it for a reasonable price. Or perhaps Quentin could try 'crowd-funding': How many feet of film do I get for my $25?

Link | Posted on Jul 31, 2014 at 04:09 UTC
On article A look at the Lomography Petzval 85mm F2.2 lens (185 comments in total)

An excellent article on this type of lens can be found at

I think it unfortunate that the manufacturer chose to make a 'replica' rather than using a conventional focusing helical, diaphragm and T-mount. If a photographer today seeks that specific bokeh, there's no reason he should be penalized with waterhouse stops, rack and pinion focus and a sloppy lens mount.

Link | Posted on Jul 3, 2014 at 11:09 UTC as 46th comment | 1 reply
On article Massive 3,000 square foot pinhole photo on display (34 comments in total)

Any details on the material... how it was sensitized, how it was processed? Who paid for it?

Link | Posted on May 2, 2014 at 11:08 UTC as 21st comment
On article Olympus Stylus 1 First Impressions Review (327 comments in total)
In reply to:

zapatista: Well, constant f2.8 is nice, I wonder how is does vs. an FZ200.

Too bad Sony doesn't update the KM A2 -- one of the last
great Minolta designs. And the A2 28-300 f2.8 was a G lens!

Link | Posted on Oct 29, 2013 at 10:23 UTC
Total: 33, showing: 1 – 20
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