Thomas Eakins: Brilliant Painter, Gifted Photographer… Sexual Predator?

Thomas Eakins: Brilliant Painter, Gifted Photographer… Sexual Predator?

By: Henry Adams, Case Western Reserve University

The recent toppling of a string of powerful figures for sexual abuse and harassment raises the question of how these people managed to conceal their behavior so long, in some instances after abusing hundreds of victims.

Why didn’t the victims speak up? And why, when they did, was justice so slow?

Clearly, there’s a powerful human instinct to ignore or cover-up allegations of this sort, whether they appear in politics, entertainment, sports, academia or media.

The art world isn’t immune.

Thomas Eakins is one of the most revered 19th-century American artists. His brooding portraits seem to strip his sitters of all pretension, revealing an inner vulnerability. New York Times art critic Michael Kimmelman described Eakins’ huge rendering of a grisly medical operation, “The Gross Clinic,” as “hands down, the finest 19th-century American painting.”

But over the last few decades, enough evidence has emerged to suggest that Eakins was a sexual predator. Not only did he cross a number of lines with his subjects and students, but a disturbing pattern of alleged abuse has also emerged. Curiously, the very group that one would have expected to speak up – feminist art historians – have been notably silent.

How should this sort of information be dealt with when it emerges? What’s behind the urge to suppress it? And how should it color our view of an artist?

Eakins quietly fired

The son of a Philadelphia instructor in penmanship and calligraphy, Eakins went on to study art in Paris. Upon returning to his hometown in 1870, he rose quickly to a position of local eminence. In 1882, at the age of 38, he was appointed director of the art school of the Pennsylvania Academy of Fine Arts.

In 1886, however, he was abruptly fired from the Pennsylvania Academy with no public explanation. He then spent the rest of his life as an outcast from proper Philadelphia society. He’d gift portraits to his sitters, who would routinely destroy them. Critics derided his art as ugly and depressing.

But at the turn of the century, a dramatic shift occurred. Painters such as society portraitist John Singer Sargent came to be viewed as superficial and dishonest, while Eakins was seen as a paragon of the authentic. The first biography of Eakins, published in 1933 by art historian Lloyd Goodrich, depicted him as an exemplar of sober honesty and moral probity.

Thomas Eakins’ 1899 painting ‘Wrestlers.’
Los Angeles County Museum of Art

For more than half century, Goodrich’s monograph remained the primary source on Eakins for a curious reason. Shortly after the biography came out, the documents Goodrich had drawn on disappeared and were presumed destroyed. This meant that in subsequent books, Goodrich’s account needed to be used as the authoritative source.

In 1985, however, Eakins’ papers were rediscovered among the effects of his pupil Charles Bregler and shortly thereafter became fully accessible to scholars. In addition, after Goodrich died in 1987, his notes from interviews with people who had known Eakins became available. They included a great deal of material he had excluded from his published account.

While some cracks in Goodrich’s account had come to light earlier, the Bregler Papers and Goodrich’s notes made it clear that nearly everything about Eakins’ life and art needed a major reassessment.

A disturbing pattern of behavior emerges

Loosely speaking, the accusations against Eakins fit into two categories.

The first involves nudity. Eakins seems to have been an exhibitionist voyeur – someone who exposes themselves in unlikely or inappropriate situations to shock others and perhaps achieve some sort of psychological dominance.

He often undressed in front of his students or inappropriately exposed himself in front of his subjects. For example, according to his student Samuel Murray, he once walked completely naked into a room where a young woman was posing for her portrait and declared, “I don’t know if you ever saw a naked man before. I thought you might like to see one.”

Goodrich’s unpublished notes detail repeated instances in which he pressured women to undress in front of him, from his young female students to the elderly women who posed for his portraits.

He collected a large number of nude photographs of himself and his students, and he had photographs taken in which he is carrying a naked female model while unclothed. In his classes he often used obscene language, told dirty jokes, and spoke at great length about the male genitals in anatomical dissections.

The second deals with episodes that are much more troubling and bizarre.

The most disturbing involves Eakins’ niece Ella Crowell. In 1897, she committed suicide with a shotgun. The Bregler Papers revealed that she had once accused Eakins of sexually molesting her and that Ella’s parents believed her account.

Thomas Eakins’ 1888 portrait of his former student, Lillian Hammitt.
Wikimedia Commons

The papers disclosed another troubling series of events. One of Eakins’ students, Lillian Hammitt, was picked up by the police on the streets of Philadelphia wearing a bathing suit and claiming that Eakins had promised to marry her. In 1886, Eakins’ brother-in-law, Charles Stephens, accused him of incest with his sister Margaret, who had died a few years before. Eakins’ sister Caroline also reported that he would repeatedly enter her bedroom wearing a shirt but no pants. Once, when she fled to a more distant part of the house to escape him, he shot and killed her cat.

By the end of his life, Eakins wasn’t on speaking terms with any of his siblings. Another brother-in-law, Will Crowell, admitted in a letter that he had threatened to kill Eakins.

While Eakins disparaged those who attacked him, he was a little like someone who starts a fight in a bar and then ducks out the back door. He consistently avoided specifically addressing the charges against him. Instead, he let his students, associates and family members engage in arguments about his behavior.

Silence still reigns

The belief that Eakins engaged in some form of sexual abuse is not based on conjecture but on large numbers of concrete accusations made in his lifetime.

What’s striking, however, is the persistent avoidance of these issues.

This material is still left out – surely deliberately left out – of most standard sources on American art. No textbook breathes a word on the subject. Even the Wikipedia article on Eakins systematically omits his sexual transgressions.

How can we explain this?

Thomas Eakins’ 1900 portrait of Mary Adeline Williams.
Philadelphia Museum of Art

One possible explanation is simply that issues like sexual abuse are highly disturbing. They make one queasy. Moral issues like theft are not hard to think about in a logical way. With incest and sexual abuse, a more primitive instinct of avoidance seems to come to the fore.

Another possible explanation is that people often have trouble admitting that they were wrong. During the period before the discovery of the Bregler Papers, effusive praise of Eakins was expected of scholars in the American field, and a great many women and men engaged in it.

In 1983, for example, art historian Elizabeth Johns won the Mitchell Prize for a book celebrating Eakins as a moral, disciplined, self-made man. Though this was written before the Bregler Papers were discovered, she has never publicly changed her stance.

Even Linda Nochlin, a major figure in feminist art history, wrote an essay praising the way Eakins pictured women who look abused and declared that she felt he would have been sympathetic to her as a Jewish girl at Vassar. Sadly, this was unlikely. According to Weda Cook, a sitter for one of Eakins’ most famous portraits, the painter “didn’t like Jews.” He was also a friend and ally of the reactionary arts administrator Harrison Morris, who believed that modern art was a conspiracy of Jewish artists and art dealers.

In the past, I’ve written about Eakins’ pattern of sexual misconduct. One surprise has been the hostility of many female art historians to this criticism.

Why does it matter? Ella Crowell has been dead for more than a century. Why should we care if she was sexually abused?

My own feeling is that there’s a moral dimension to this question – that presenting a sexual predator as a moral paragon is unhealthy and that to do so twists our moral values.

But I would also argue for a somewhat different position. When we deal with contemporary events, it’s easy for a sort of witch-hunt mentality to take over. With an artist long dead, we can maintain a more dispassionate approach and search for understanding the mechanisms of unhealthy behavior.

While we can recognize that Eakins was a sexual predator, we can also point to another long-suppressed fact of Eakins’ life: His mother suffered from bipolar disorder throughout his childhood and died of “mania” shortly after he returned from Paris. As a child, Eakins had spent long periods with his mother and was charged with caring for her while his father worked.

Bipolar illness has a strong hereditary component, and we know that Eakins himself sought medical help for depression. Surely, spending long periods with a mentally ill woman must have been traumatic.

Finally, there’s the issue of Eakins’ paintings, which are widely regarded as one of the great achievements of American art. No American painter made works that are so extensively autobiographical, and so much a portrait of himself, his family and his intimate circle.

The ConversationIf we’re going to grasp what makes these paintings so tragically powerful, we should be honest and open in examining the man who made them and the impulses that drove him.

Henry Adams, Ruth Coulter Heede Professor of Art History, Case Western Reserve University

This article was originally published on The Conversation. Read the original article.


The post Thomas Eakins: Brilliant Painter, Gifted Photographer… Sexual Predator? appeared first on PDNPulse.

Source: PDN Pulse

Thomas Eakins: Brilliant Painter, Gifted Photographer… Sexual Predator?

Google Built a Rotating Arc of 16 GoPro Cameras to Shoot Light Fields

Google Built a Rotating Arc of 16 GoPro Cameras to Shoot Light Fields

It seems Lytro has a new formidable competitor in the area of light field cameras. Google revealed today that it has created a rotating arc of 16 GoPro cameras arranged vertically to experiment with light fields.

While a 360-degree camera allows you to look in different directions in virtual reality, a light field camera gives you a much more realistic sense of presence because you can move your head around in 3D space while looking in the same direction. The motion parallax and change in light experienced is much closer to what the world looks like to us in real life.

To create its light field capture camera, which captures all the different rays of light entering a volume of space, Google modified a GoPro Odyssey Jump 360-degree camera rig and bent it into a vertical arc of 16 outward-facing cameras, which was then mounted to a rotating platform.

The camera takes a minute to swing around and capture roughly 1,000 outward-facing viewpoints on a 70cm (27.5in) sphere, providing a 2-foot-wide sphere of light rays. By sampling rays of light based on camera position on the sphere, Google can construct views of a subject to match how a viewer is moving their head in VR space.

So far, Google has tested the camera at a few different locations (the Gamble House in Pasadena, the Mosaic Tile House in Venice, and the Space Shuttle Discovery) and has created a free new app on Steam called “Welcome to Light Fields.” It’s compatible with HTC Vive, Oculus Rift, and Windows Mixed Reality VR headsets.

“Take the seven-minute Guided Tour to learn more about the technology and the locations, and then take your time exploring the spaces in the Gallery,” Google says. “This is only the beginning, and lots more needs to be done, but we’re excited about this step toward more realistic capture for VR.”

(via Google via The Verge)

Source: PetaPixel

Google Built a Rotating Arc of 16 GoPro Cameras to Shoot Light Fields

Watch 3 Photographers Do a Freestyle Portrait Shootout with Work Lights

Watch 3 Photographers Do a Freestyle Portrait Shootout with Work Lights

Gulf Photo Plus held another ShootOut at GPP Photo Week 2018 in Dubai last month, pitting three photographers (Nick Fancher, Zack Arias, and Caleb Arias) in the photography equivalent of a freestyle rap battle.

With only 25 minutes to do their thing, the photographers were asked to shoot portraits of the same subject. But instead of having studio strobes or flashes, the photographers were only given work lights.

Nick Fancher

Nick Fancher invited 3 attendees to help serve as human light stands. He then lit subject with three different colors to create a multiple-exposure portrait.

Zack Arias

Zack Arias shot a dramatic portrait of the subject from a low angle with shadows in the background.

Caleb Arias

Caleb Arias used tape to add white lines for a creative foreground in the scene and shot the subject with color gels.

You Be the Judge

Who do YOU think won this shootout?

Here are links to GPP shootouts in previous years: 2016, 2015, 2014, 2013, and 2012.

Source: PetaPixel

Watch 3 Photographers Do a Freestyle Portrait Shootout with Work Lights

A SXSW Conversation with Alec Byrne

A SXSW Conversation with Alec Byrne
Alec Byrne was a young, 17-year-old mod zipping around London in 1966 when he stumbled into the burgeoning music scene with his camera in tow. Over the course of the next decade, he shot David Bowie, Elton John, T. Rex, Lou Reed, the Rolling Stones, the Who, and many more, only to bow out of the industry altogether as he turned his lens to Hollywood. For decades, these images sat in storage until he unearthed his work for what would become his first book, London Rock: The Unseen Archive. We…

Keep on reading: A SXSW Conversation with Alec Byrne
Source: V Magazine

A SXSW Conversation with Alec Byrne

I’m Thinking About What Sara Said

I’m Thinking About What Sara Said

I had the great privilege of tagging along with photographer Eric Kim for Gulf Photo Plus in Dubai back in 2014 and 2016. GPP is an annual event: the region’s biggest and only photography festival, bringing the world’s best photographers and instructors to Dubai to share their knowledge and experience with the professional and amateur photography community in the Middle East and Africa.

I’ve been humbled to learn bits and pieces from an unbelievable roster of GPP teachers. Because Eric is one of the instructors and I’m his glorified help, I have had access to many of the instructors – picking their brains during cab rides, over rooftop cocktails, or at breakfast club.

At the 2016 event, I decided to bring some work to show the photographers. I brought along my Havana project, shot in 2015 and probably the first real set of images in the street photography genre that I was proud and confident to show my peers. I walked around with my little tablet and convinced people like Ed Kashi, Zack Arias, and Steve Simon to have a quick look.

I view these people masters at what they do, who are actively involved in storytelling through street and documentary work. They helped make some suggestions on a what photos they thought were the strongest, which photos did not fit in well, and offered sequencing tips – overall it was really positive and their feedback jacked up my confidence levels.

One evening I was enjoying a few drinks at a rooftop bar and I had a conversation with another one of the GPP instructors, Sara Lando. Sara is an incredibly talented creative portrait photographer and one of the most enthusiastic educators I’ve encountered. I’ve known her to be blunt, maybe a bit loud at times, but always somewhat charming.

I decided it would be interesting to get some feedback from someone who wasn’t really experienced in street photography. I thought she’d be able to come at it from a fresh perspective. The next 45 minutes we would have on that rooftop would go on to have a profound effect on both me and my work.

Sara’s Disclaimer

Before she dished out the goods, Sara wanted to first disclose that: “Even if I think your photos are s**t, please know that they are images that I am incapable of taking.”

Well, that was a relief. I knew whatever was about to be said came from a place of love…or was it anger?…or comedy?…mostly love though.

When we started to go through my Havana photos, her response was unlike that of the other photographers. It wasn’t a: “this is great”, “love this one”, “I don’t get this one”, or “I wouldn’t include this one”. She wasn’t telling me her opinion, she was probing deeper into my mind asking me questions like: “why did you take this photo?”, “what are you trying to say with this photo?”, “why were you in Cuba in the first place”, “what is it about Cuba that interests you?”, etc.

It was a non-stop barrage of questions. The line of questioning eventually broke down to one fundamental baseline: what was my purpose or intent when I took these images? Aside from wanting to replicate the work of others that had inspired me, I couldn’t really give a suitable enough of an answer that would satisfy both of our curiosities. I felt my foundation beginning to crack.

Third Best

So at the time, I was seriously thinking of making return trips to Havana to document the changes the city and its people stemming from the renewed hope of closer diplomatic and economic relations (thanks, Obama). I was set on shooting it, as I had, in a panoramic format on film. I hoped that the result would be the love child of Alex Webb, David Alan Harvey, and Josef Koudelka.

When Sara pressed further about what my endgame was, I told her that I’d like to produce a book in the aesthetic of Alex Webb and David Alan Harvey, both of whom produced amazing bodies of work in Cuba.

“So you’d like to spend the next ten years working on this project so that you can produce the third best book on Cuba ever?”

Ok, that was huge burn #1. In that moment, it was as if someone grabbed me, shook the s**t out of me, then slapped me repeatedly until I regained consciousness.

Know Your Audience

She then moved quickly to ask who my audience for the book would be. I told her that I wouldn’t really care if it sold a lot of copies or if people outside of the street/documentary photography community didn’t care for it. As long as it was respected by my peers, then I felt like the book would have been a success.

“Neil, you are a f**king idiot! You care so much about gaining the approval from people who couldn’t care less about you; who don’t even know you exist! You know whose opinion I care about most? The three people who supported me from the beginning when I didn’t even know how to take a proper photo.”

She made me realize that ultimately, you are shooting for yourself and that there was no point in spending energy to gain the approval from people I didn’t even know. Not to mention my intended ‘audience’ wasn’t really an audience at it – they were people who had no clue who I was!

Cover Band

She probed further about why I felt the need to gain approval from people; why I seem to have this massive chip on my shoulder. This is sort of a complicated two-part answer. First off, I come from nothing in the literal sense of the word: I was born in a refugee camp. We grew up pretty poor.

I grew up constantly trying to fit into a place where I never really felt I belonged. Even after graduating and securing a ‘normal’ stable job I wanted to show my traditional Asian-values family that I could succeed doing something unconventional.

I’ve worked hard my whole life trying to prove people wrong – whether it is being able to have a career outside the norm or shooting a jump shot in someone’s face on the basketball court because they didn’t think I could play.

Secondly, I told her candidly that I thought that there were millions of photographers in this world that were more popular than me, made more money, and had much larger followings. I said bluntly that a lot of them produce work that I found mediocre and that in a one-on-one scenario, I would hand them their ass.

She interrupted me and said simply: “No you wouldn’t. Neil, I think you’re a really talented photographer and obviously you know all the technical aspects of photography. But right now – you’re just a really good cover band.”

Ok, that was huge burn #2.

Again, it really came down to purpose and intent. I was competent enough to make images that weren’t rubbish, but I did so without purpose. I would just shoot as much as I could and worry about the narrative later. I often didn’t know why I was creating images or what its purpose really was.

Photography is a Language

“Photography is a language. To most of us it’s a foreign language we are learning how to speak, but even if you are fluent in shutter speed and aperture, even if you know everything about bouncing flash and own the best camera on the market, the thing is if you don’t have something to say, then you’re pretty screwed.”

Just because I know a lot of words and even sentences, it doesn’t necessarily mean I can form them into paragraphs or a book. The book is ultimately the story and to get there you first need to know your words, form sentences, then paragraphs. I had a lot of words and sentences but couldn’t put together a book that made any sense.

You are Already Who You Are

So was I actually screwed as an image maker? Sara would go on to ask more questions about who I was and how that influenced my photography. I honestly never really thought these types of things actually manifested themselves at all in people’s photography.

I told her that I’m naturally introverted (even though I can be the loud proactive guy or the center of attention on occasion). That I prefer quietness and subtlety. From a photography perspective, I told her that one of my problems was that I love to shoot too many different genres and am influenced by photographers spanning the entire spectrum.

And the problem I thought with loving architecture, cityscapes, portraits, street and documentary photography is that nothing I photograph really sticks because it is too random and diverse.

“Neil! You don’t even realize it but you are already being influenced by all of that. You are already who you are. I think the best images I’ve seen from your Havana work are the ones that are quieter and subtle. Where things like the space and architecture are central to the photo. Your images are more intimate and relatable when you’re not trying to be someone else.”

How I’ve Changed Since

There’s no doubt that conversation I had with Sara played an important growth in both my personal and professional work. I think my most important takeaway was that I needed to shoot with more purpose and intent. So no matter if it is for a wedding client, editorial, commercial or something personal, I set out to know what those images are being used for and what the story is that I need to tell through those images.

For corporate work, I need to know what the images are being used for and where they are appearing to get a better sense of how to photograph what they need. Even for personal work when I am traveling, I will do research in advance to make a more purposeful effort in capturing what was intended.

Being true to myself has also helped steer me in the right direction. The way that I see things now is that my goal is to create interesting images that I myself would like. For example, I take wedding photos in a style that I would personally like to have when I get married. The fact that others can connect with those images is really the icing on the cake.

In a lot of ways I think this realization is so important for a photographer; stop trying to please others and please yourself. Find others that gravitate towards your vision and don’t worry about catering to those who have different tastes. It is impossible to please everyone.

To me, the pursuit of photography is a lifelong work in progress. I feel as though the more I learn, the less I actually know. The only thing I can do to better myself is strive for continuous improvement by adding new tools to my photography toolbox. It’s been great reflecting on such a memorable conversation with Sara and hopefully out of all of this you will have at least something to add to your own toolbox as well.

Note: A special thanks to Jhila Farzaneh whose expert note-taking allowed me to re-visit some of the that night’s conversation. You can also have a look at my Havana project or purchase the zine.

About the author: Neil Ta is a Toronto-based documentary, wedding, and commercial photographer. You can view his work on his portfolio or follow him on Instagram. This article was also published here.

Source: PetaPixel

I’m Thinking About What Sara Said

Amelia Earhart’s Leica Camera for Sale on eBay for $70,000

Amelia Earhart’s Leica Camera for Sale on eBay for ,000

Amelia Earhart, the first female pilot to fly solo across the Atlantic, disappeared while flying the Pacific over 80 years ago, but fascination over her story remains strong to this day. And now you might be able to own a little piece of her history: a Leica purportedly owned by Earhart has appeared on eBay.

The camera was listed by photography enthusiast Ian Macdonald (eBay seller name lockesboy), who has a stellar reputation of 100% Positive feedback from roughly 1,300 ratings. According to the listing’s description, the camera has been in the seller’s family for 85 years.

“I’m selling Amelia Earhart’s camera which was gifted by her to a family member in 1933 after returning back from a trip to Chicago with her husband,” Macdonald writes. “The camera has been in my family possession since that time and has been in long-term storage, the camera appears to be working correctly.”

“The black paint camera, which was made in 1929, is thought to have been given to owner Ian [Macdonald]’s grandfather Wullie Macdonald when he worked for a cleaning firm that collected laundry from hotels and homes in New York,” wrote the Evening Times in 2017. “One of his jobs was to collect clothing from Earhart’s house in Rye and during a visiting in 1933, he commented on the aviator’s camera.”

The camera was part of a collection of cameras Macdonald sold through McTear’s Auctioneers in March 2017. After originally having an auction estimate of £10,000-£15,000, the camera went unsold.

The camera comes with a card that appears to have been signed by Amelia, who included the personal signature with the camera when it was gifted.

To our eyes, the signature on the card does look identical to known signatures that can be found across the Web:

“Everything is authentic, I’ve known this camera all my life,” Macdonald says. “I would like the camera to go to a museum if possible.”

The one glaring issue, however, is that the provenance for this camera is relatively weak — it hasn’t been independently authenticated by anyone, and Macdonald acknowledges that fact, saying:

Please note I have absolutely nothing to prove that this was in fact Miss Earharts Camera and research would need to be done to confirm such, I have absolutely no idea how to do that myself. From memory over 40 years ago my Father told me that she found it fiddly to load, Miss Earhart may have studied photography, my Grandfather had said as much and described her as a keen photographer , she preferred a Kodak folding camera as I recall being told, she was also described as very nice and down to earth […]

I do understand that provenance is an issue. If I had that the camera would be worth Millions, not thousands. I had Bonhams Auctions out in 2016 who said as much when they inspected the camera.

If you’re willing to take a gamble on the camera and have it authenticated afterward, you can head over to the eBay auction and buy the camera now for £50,000 (~$69,900).

(via eBay via Leica Rumors)

Source: PetaPixel

Amelia Earhart’s Leica Camera for Sale on eBay for ,000

Samsung Galaxy S9 Teardown Shows the Variable Aperture Lens in Action

Samsung Galaxy S9 Teardown Shows the Variable Aperture Lens in Action

JerryRigEverything just published this 7-minute teardown video of the Samsung Galaxy S9, and one of the interesting things it reveals is the mechanical workings of the DxOMark-leading camera, which is the first smartphone camera to feature a variable aperture.

After opening up the phone and examining the camera module, JerryRigEverything finds a lever that allows the blades to be physically opened and closed, toggling the lens between apertures of f/2.4 and f/1.5.

“Magnets make the world go round, and the same is true here with the OIS and aperture switch inside this camera unit,” JerryRigEverything says. “If you break anything on your Galaxy S9, this video shows the process of me repairing and replacing all the major components.”

(via JerryRigEverything via DPReview)

Source: PetaPixel

Samsung Galaxy S9 Teardown Shows the Variable Aperture Lens in Action

Shooting Light-Painting Portraits with a Shattered Windshield

Shooting Light-Painting Portraits with a Shattered Windshield

My name is Jason Rinehart with Hartlight Photography, and I’m a light painter known around the world for my unique light painting style. I’m always in search of different creative ways to make my images I create as unique as possible, and this is by using whatever I can find to either shoot through or shoot with.

My favorite thing is to take something that most would consider ordinary and create a different perspective that someone might never think to do.

A few years back, I discovered that I could light paint through a king size bed sheet, and since then, I’ve been trying to push myself with developing this sheet technique further. I recently got a hold of a car windshield that I used for a series of creative light-painting portraits.

Here are some behind the scenes photos of my setup:

Here are some portraits I shot with this setup:

If you would like to see more of my work, you can find me on Facebook and Instagram.

About the author: Jason Rinehart is a light-painting photographer who holds a Guinness Book of World Records achievement in light painting. You can find more of his work on Facebook and Instagram.

Source: PetaPixel

Shooting Light-Painting Portraits with a Shattered Windshield

Throwback: Reviewing the Sony Digital Mavica

Throwback: Reviewing the Sony Digital Mavica

Do you remember when digital cameras recorded files to floppy disks? Back up, do you even remember what a floppy disk is?

Seemingly aeons ago, humans used these hard plastic disks to store data and Sony was the first to incorporate that storage media into a digital camera. The company’s Digital Mavica line was path-breaking, bringing digital imaging to a wider audience.

Lazy Game Reviews takes us on a trip down memory lane (get it?) as he reviews the Mavica FD5, which was introduced to the world in 1997–the same year that IBM’s Deep Blue defeated Garry Kasparov in chess, presaging the slow but inevitable takeover of the machines.

The FD5 recorded images at 640 x 480 with a 4.8mm f/2.0 lens (47mm equivalent). There was no zoom or autofocus but you did get a 2.5-inch display.

The camera originally retailed for $599 (though you can grab it used today for under $100).


The post Throwback: Reviewing the Sony Digital Mavica appeared first on PDNPulse.

Source: PDN Pulse

Throwback: Reviewing the Sony Digital Mavica