The A-35 is based on the Sony SLT system, which means the camera uses a translucent mirror system. The mirror is fixed and therefore the camera doesn’t offer an optical SLR viewfinder; instead, it uses a high resolution electronic viewfinder and an LCD monitor – just like a CSC (compact system camera).The ELV of the Sony A35 has a resolution of 1.15 million RGB dots and shows a very crisp and clear image.
Let’s face it—some images just look better on a glossy surface. Yet, some folks spurn gloss for its “commercial” cachet and snapshot aesthetic. For those who prefer a “crisp” look to their prints but eschew gloss for practical and aesthetic reasons, a paper like the new Lasal Exhibition Luster could do the trick. Replacing Moab’s former Lasal Photo Luster (a 270 gsm paper vs. this one’s 300 gsm), this Resin-Coated (RC) paper has a bright white base, is flexible yet strong, and touts a new coating technology that the company claims yields improved scratch resistance and enhanced “opacity.” The paper is affordable for its class, with letter-size paper well below $1 per sheet (in 50-sheet packs), 13x19” at slightly under $2 a sheet, and a 17”x100’ roll at $143, all quoted from the company’s website.
Being an RC paper, the company says you can print using either dye or pigment-ink printers, although it says pigment is preferred. Lacking a dye printer our print runs were done using an Epson 3800 (pigment) printer using Epson (Premium Luster) and Moab ICC profiles, and both Photoshop and Epson printer controls. Color and black-and-white images of landscapes, people, and graphics were chosen for the tests. Prints were left overnight to cure, although we note that prints were instant dry and the paper showed no signs of ink “wetness” sometimes seen with fiber-based papers right off the press, and there was no dry down effect perceived. Prints were made with Photo Black ink settings.
The revised website at www.shutterbug.com is now online. This new iteration maintains all the archived stories of the past site—with postings from all our articles from over the past 12 years—plus new features that make searching easier, sharing more accessible, and now the ability for registered users to comment on all our postings. The new site is the result of hard work by numerous people from our team and we trust it will become one of your main sites for photographic news and views and research.
It’s not only New Yorkers who experienced the horror and sadness, and incredible human spirit brought forth by the events of 9/11. This event, which has changed the world in both profound and subtle ways, is something that all can relate to. While none who were alive that day will ever forget where they were at the time of the attacks, it is important to keep in mind not only the people who we lost, but those who served above and beyond the call of duty to serve their fellow human beings. This show, held at the Time Warner Center in New York, brings this event and the people involved to the forefront, and is a moving tribute to their spirit and humanity.
We recently attended this exhibition and encourage everyone who has the chance to do so, and hope that the images and words it contains will be brought to more venues so all can experience it. What follows is part of the press material distributed at the opening, where many of the individuals pictured were on hand to share their stories and experiences. It reminded us all why photography and story telling are so important a part of history, and can serve as both remembrance of those who have passed and as honoring those who served. This special exhibition was sponsored by Nikon, with modern prints sponsored by Adorama. On hand was Mr. McNally who talked about the creation of the work and his heartfelt reflections on the people and subject he so ably depicted. The exhibition is running through Sept, 12, 2011, and we encourage everyone who can see the show to do so. –George Schaub
The Sony NEX-C3 is an ultra compact CSC (compact system cameras) system with an APS-C sized sensor. The camera offers a resolution of 16 MP (megapixels), which is similar to some Sony SLT cameras like the SLT-A35. The main difference in the concept of the NEX cameras is the very compact body and the fact that the camera doesn’t work with an optical or electronic viewfinder, but only with the LCD screen on the back as viewfinder and control monitor.
The Panasonic GF3 is the successor of the GF2. The new camera is 17 percent smaller and 16 percent lighter than the GF2, making it an extremely compact camera. Due to the reduction of body dimensions there are some elements missing which were part of the GF2--no accessory shoe for external flash light systems and no interface for the optional ELV that could be mounted on the GF2.
Having shot with numerous Lensbaby products over the past years I’ve almost grown accustomed to their ingenious approach to image-making tools and the equally ingenious way in which they approach product design. I do have to admit that one area in which I took less advantage than I might have was in aperture control and how that affected depth of field in my Lensbaby shots, more from laziness or simply forgetting about changing the aperture inserts as I got involved in the shoot. (For those who have not shot with Lensbaby optics you lift in and drop out, via supplied magnetic wand, the various aperture rings corresponding to the diameter of the desired aperture for the optic in use.) Now, this impediment to getting the most from the optics (admittedly, again, my own) is removed with their latest product, the Sweet 35 Optic.
In this issue we feature the TIPA Awards for products in 40 different categories and I thought you might like to know how the finalists were chosen. TIPA, the Technical Image Press Association, is composed of representatives from photographic magazines around the world, editors, who go through the process of first nominating products by a Technical Committee and then voting on what they consider the best or most innovative products in their respective categories. Editors are from pro, advanced amateur, and amateur photo magazines, including those from Australia, Canada, Germany, Greece, Hungary, Italy, the Netherlands, Poland, South Africa, Spain, the United Kingdom, and the United States, from which Shutterbug is the sole member.
Having owned a (used) Leica M3 since the late 1970’s I can attest to the charms of working with a Leica camera. There is a certain heft and solidity of construction that speaks to its obvious longevity, which is juxtaposed with a deftness of operation, characteristics on display in the M3 in the stroke of the film advance lever and the sound and feel of the shutter release. For those who have experienced a Leica, that “aha that’s why” moment is quite unmatched by other cameras and it spoils you, in a way. Yet, working with a Leica for me has always had a certain awkwardness—witness the film loading in the M3, at least when compared with a sleek Nikon or Canon of the day, and the rangefinder focusing system, almost arcane in the world of autofocusing speed and accuracy. Yet, that awkwardness is not a true impediment and almost becomes part of the charm.
The Fujifilm Finepix X100 is designed like a classic viewfinder camera yet it offers state-of-the-art digital technology and some brand new and innovative systems. The Hybrid viewfinder, for example, is an example of a sophisticated enhancement of a classic concept. First of all, there’s a very bright and large optical viewfinder onto which the camera will overlay exposure information (aperture, shutter speed) and a parallax marker. Instead of using an optical system to create these overlay elements, as done in classic viewfinders of analog cameras, it uses a high resolution LCD. This results in detailed information and a very crisp look.