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Around The Horn
29 August 2016
In this recurring column, we highlight a few items we've run across that don't merit a full story of their own but are interesting enough to bring to your attention (with more than 140 characters). This time we look at Niels Ackermann, Mark Burns, Zeiss Milvus 100mm, evaluating a lens and writing a will.
- In Coming of Age in the Shadow of Chernobyl, James Estrin presents 19 of Niels Ackermann's photos of daily life rather than the war in Ukraine, which are on exhibit this week at the Visa Pour l'Image photo festival in Perpignan, France, where they will receive the Rémi Ochlik award.
- Emily Anne Epstein presents 20 black-and-white images of America's National Parks by Mark Burns, who traveled 160,000 miles to visit all 59 of them. The Houston Museum of Natural Science is exhibiting 59 of his prints, one for each park, through Sept. 28.
- In Zeiss Milvus 100mm f2M: Streamside Macro Lloyd Chambers takes some macro shots with the Milvus on his D810. "The D810 images feel artful; the Sony [A7R II] images feel digital. How unscientific! But that's what my eyes tell me."
- Jim Kasson wonders about Pixel Peeping -- Useful Tool or Obsession suggesting you might evaluate lens quality based on print size.
- Greenberg and Reznicki promise Where There's a Will, There's Way Happy Relatives -- and vice versa. Case in point is the Toronto Star's retelling of the Vivian Maier story, which has become "about as confusing legal case as there has ever been," the Copyright Zone guys write. Every artist needs a will, they conclude.
More to come! Meanwhile, please support our efforts...