Kertesz on Kertesz

Kertesz on Kertesz

I bought this book and I really liked it. After a short introduction by Peter Adam it’s divided into three sections, each one a phase in Kertesz’s life/career: Hungary, Paris, New York It contains over 100 of Kertesz’s images, fascinating in of themselves. Many of them are accompanied by very short comments by Kertesz himself.

Still Life, New York City, 1976

 

 

For example, the above photograph entitled “Still Life, New York City, 1976” was taken late in Kertesz’s life (he died in 1985 aged 91).

The caption reads: “This is a photograph of the apartment taken while my wife was in the hospital. I wanted the apartment to be painted for here when she came back, but she never came back”.

The only thing I didn’t like about the book was that there wasn’t more of it.  I got through it quite quickly and wanted to read more.  This isn’t a criticism as much as it is a comment on the quality and readability of the the book.

Shack on Route 6N


I’d driven past this several times. This time I decided to stop and take a closer look. I have no idea what it is/was. The sign “628 1010. Call Larry Zacks for appointment” is intriguing. I liked the textures of the wood though, and the crazy angles. Looks like it’s going to fall over at any moment.





One hundred years and going strong – Happy Birthday Leica

Leica Prototype

From The Guardian, Eamonn McCabe, Sean Smith, and Denis Thorpe talk about the importance of the Leica on the 100th anniversary of the creation of the original prototype. McCabe starts off with this comment:

 

 

Now that we all carry cameraphones in our pockets, it’s hard to imagine that the biggest breakthrough in photography actually happened back in 1914 – when Oskar Barnack invented the Leica.

Suddenly, photographers could throw away their heavy tripods and exploding flashguns, and step out of their studios to walk the streets and take photographs with this new mobile camera.

Barnack, a German optical engineer who specialised in microscope research, was also a keen amateur photographer, but his health was poor and he couldn’t carry the heavy cameras of the time. He quickly turned his prototype Ur-Leica into a lasting success. By 1932, there were 90,000 cameras. By 1961, a million cameras were in use.

via Happy 100th birthday, Leica! | Art and design | theguardian.com.

New Lens – Same old pictures


One of our neighbors is going to live in California. We went to their moving sale and they had a couple of old cameras. One was a nice looking Taron VL. Nice looking was about all you could say about it because, unfortunately, it was completely frozen. Too bad.

There was also a Minolta X-370 with a couple of lenses. I already had the 50mm F1.7, but while optically very nice mine left a lot to be desired cosmetically. This one was in very nice condition. The second lens was a Kiron 80-200mm F4.5 Macro zoom. I’d heard that Kiron lenses were generally pretty good. Wikipedia has this to say about them:

Originally, Kino Precision manufactured some of the now-famous Series 1 manual focus lenses under contract for Vivitar, a U.S. lens distributor of after-market film lenses for 35mm cameras. However, after the positive reception from consumers on Vivitar Series 1 lenses, the company believed the time was right to successfully market lenses to fit existing 35mm Japanese film cameras under their own brand, Kiron. Kiron soon became known as one of the very few after-market lens manufacturers that could supply products equal to or even exceeding the optical and mechanical quality of the original manufacturer. In particular, the Kiron 28mm/2.0, the 105mm/2.8 1:1 macro,[2] the 28-210mm/4.0-5.6 and the 3.8-5.6 varifocal zoom, and the 28-85mm/2.8-3.8 varifocal macro zoom lenses were praised in contemporary reviews of the day for their superb optical resolution and clarity, as well as mechanical quality.

This one seemed to be in pretty good shape except for a “cleaning mark” on the front element (I later discovered that rather than being a “cleaning mark” it was actually just a smudge easily removed with some lens cleaning fluid). I asked him how much he wanted and he said that I would know better than he. As this wasn’t the case, and we were in a bit of hurry to get somewhere else I said that I’d do a bit of research and get back to him later in the day. So after browsing around a bit on the internet I came up with what a thought was a reasonable amount and late in the afternoon I was back to pick up the goodies.

Then of course I wanted try something out. I didn’t have batteries for the camera and I already knew what the 50mm could do. So I decided to try the Kiron (on a Sony NEX 5n). Conditions were not ideal. It was late afternoon and getting dark quickly. I’d been carrying something heavy and my left arm was shaking. Below are some pictures.

It’s a solidly built one touch zoom. The F4.5 aperture is not particularly fast, but it is constant throughout the zoom range. While not as heavy as some I’ve seen it’s still a fairly hefty lens, although not really that big. It has a nice feature I hadn’t come across before: a zoom lock. Once you’ve chosen your focal length you can lock it so that as you focus the focal length does not inadvertently change.  It does have quite a bit of chromatic aberration, which is easily corrected in Lightroom.

I was hand holding (too lazy to get my tripod) and so there was quite a lot of camera shake. Generally though I could see that the results were potentially good given the right conditions.

The camera and both lenses were in very good condition and came with a camera case and a nice lens case for the Kiron. Both cases were in very good condition. I paid next to nothing for all of this so all things considered I was very pleased with my purchase.

Sorry for the same old pictures. As is often the case when I’m testing something new I choose the path of least resistance and take pictures in my garden. So the birdhouses and the gazebo across the lake often appear. The other two pictures, from our dock do, at least, add a little variety.


Docks


Birdhouses and small angel

Lake and gazebo

From the New York Times Lens:Toward Visual Paths of Dignity

Another interesting article (accompanied by twenty fascinating pictures from the New York Times Lens, this one: Toward Visual Paths of Dignity. The article shows how colonial powers used photography to distort views of Africans and create stereotypes.

How Africans were shown in the pictures — especially in the early images — went a long way toward marginalizing them as “the Other.” The visual production of racial stereotypes itself was influenced by the pseudo-sciences of anthropometry and criminal anthropology that had been developed in Europe in order to compare and classify “human races.” Over the years, I found countless examples of photographs composed according to these pseudo-scientific frameworks. The Austrian explorer Richard Buchta was one of many photographers who did mug shot-like front and profile views of his subjects against a neutral background (Slide 9 and below). His images underscore his aesthetic and almost ethnographic obsession with his subjects’ haircuts, clothes and jewels, but he also pictured them in such total isolation from their political and social environment that they were reduced to mere ethnic types.

via Toward Visual Paths of Dignity.