Wanafoto, Art & Imaging Blogzine - Webzine


Expositions, Art contemporain, Art moderne, Photographie, Design, Patrimoine, Architecture, Art vidéo, Films, l'image dans toutes ses dimensions, Publications

Art Exhibitions, Art Fairs, Visual Arts, Photography, Graphic Arts, Design, Video Art, Architecture, Films, Photo / Imaging Equipments, Publications


December 16, 2004

Micro hebdo n° 348 - 16-22 décembre 2004

Pour ceux qui souhaient des informations sur acheter du matériel d'occasion, cet ancien numéro propose un test de 8 appareils photo numériques super-zoom qui, à l'époque, étaient en vente à moins de 600 euros. Vu la vitesse d'innovation en matière de photo numérique, l'information peut paraître trop ancienne. Mais, justement, personnellement, je trouve amusant la lecture de ce type de test. Ils permettent justement de prendre la mesure des changements rapides. Et pour un collectionneur, c'est toujour intéressant de disposer d'informations d'époque sur un appareil. Pour information, le magazine d'informatique grand public proposait également un tutoriel expliquant comment créer un reflet avec Photoshop Element qui, fin 2004, en était à sa version 2.
Couverture revue (c) Micro Hebdo - Tous droits réservés
Messages du blog en 2004 :)
Le Renault de Robert Doisneau Epson RD1 Leaf Valeo 22Wi and Leaf Valeo 17Wi Go Wireless Ricoh GX Appareil photo compact numérique Maternity Photography by LauryL Eizo New LCD Monitor at Photokina 2004 Corel Painter IX Contax U4R Digital Camera Nikon F6 35mm professional SLR French Photojournalists join Associated Press Aquisition de Jasc Software par Corel

December 9, 2004

Ralph Eugene Meatyard, International Center of Photography, New York

Ralph Eugene Meatyard 
International Center of Photography, New York
December 10, 2004 - February 27, 2005 

The photographs of Ralph Eugene Meatyard (1925-1972) defy convention. They have been called visionary, surrealistic, and meditative. Fascinated by the uncanniness of ordinary life, Meatyard made mysterious staged images using his friends and family—often involving masks and abandoned spaces—that are familiar and disturbing at the same time. Highly original and deeply emotional, Meatyard’s expressionist style and use of staged scenes foreshadows the work of many contemporary artists, such as Francesca Woodman, Cindy Sherman, Sally Mann, and Justine Kurland. The most comprehensive exhibition of his photographs to date, Ralph Eugene Meatyard will be the first major New York City showing of this work. The selection of over 150 photographs was made by Guy Davenport, scholar, poet, and friend of the artist.

Meatyard was an optometrist by profession who shot on weekends and printed his photographs in a makeshift darkroom in his home. From his thousands of images, he would select only those he considered his best, making just one or two prints of each negative. His strict attention to technique and consistency in print size achieved the aesthetic effects of photography he was seeking — a world seen through a full tonal range from black to white; intentionally strange, yet familiar and approachable.

From 1953 until his untimely death in 1972, Ralph Eugene Meatyard explored what he called the “photographic.” His earliest work from the mid-1950s includes a documentary project on Georgetown Street, a primarily African American neighborhood in Lexington, Kentucky. He then began an experiment that continued off and on throughout the 1960s with the more technical and formal aspects of the camera, using long exposures to record light reflecting off water, extreme focus for his “no-focus” images, and low depth of field for his “Zen twigs” series. By 1960, he was regularly making photographs of his three children in abandoned rural Kentucky mansions and in the forests surrounding them. Highly imaginative, even surrealistic, the photographs evoke a world not normally acknowledged with the human eye. They suggest the complex emotions associated with childhood, intimacy, loss, and destruction. These images, which form the largest component of the exhibition, are what Guy Davenport has called “charming short stories that have never been written.” 

The visualization of the passage of time played an important role for Meatyard in all of his photographs —from long exposures to the maturation of his children, from timeworn buildings to the changing light gracing the natural world. For one of his last series, titled “Motion-Sound,” he made pictures by moving the camera gently, creating multiple exposures of woodland scenes that suggest visual sound patterns.

Ralph Eugene Meatyard’s engagement with photographing people is evident in a number of portraits he made of a circle of local writers with whom he developed great friendships, including Davenport, Thomas Merton, Wendell Berry, James Baker Hall, and Jonathan Greene. These friends not only provided intellectual inspiration and support, but often acted as collaborators in other projects. Meatyard also made a significant number of self-portraits in many of the same settings in which he photographed his friends and family.

About Ralph Eugene Meatyard

Meatyard was born in Normal, Illinois in 1925 and moved to Lexington in 1950, after serving in the U.S. Navy and studying at Williams College and Illinois Wesleyan University. He went to work at Tinder-Krauss-Tinder, an optical firm, which also sold cameras and other photographic equipment. That same year he bought a camera to photograph the first of his three children. Meatyard spent the rest of his life in Lexington, where he worked as an optician at his shop Eyeglasses of Kentucky and photographed in his spare time. His membership in the Lexington Camera Club in 1954 led to an enduring friendship with his photography teacher, Van Deren Coke. In 1956, summer workshops at Indiana University brought him in contact with such influential photographers as Henry Holmes Smith, Aaron Siskind, and Minor White. These interactions paved the way for Meatyard to launch his own photographic vision. Solo and group exhibitions soon followed across the country. His prodigious career ended in 1972 when he died of cancer.

Ralph Eugene Meatyard: Catalogue

Acclaimed writer and intimate friend of the photographer Guy Davenport made the selection of images, and Cynthia Young, ICP Assistant Curator, organized the exhibition. Ralph Eugene Meatyard will be accompanied by a fully illustrated catalogue with an essay by and interview with Davenport. The catalogue will be published by ICP / Steidl and released in December 2004. 

Guy Davenport (born 1927) is a poet, artist, illustrator, short-fiction writer, essayist, literary critic, and noted translator. After attending Merton College, Oxford as a Rhodes scholar, he received a PhD from Harvard University with a thesis on the work of Ezra Pound, and then taught English at several universities. His work has garnered such prizes as the O. Henry Award for short stories, the 1981 Morton Douwen Zabel award for fiction from the American Academy and Institute of Arts and Letters, the Leviton-Blumenthal Prize for poetry, and a 1990 MacArthur Fellowship. Davenport lives in Lexington, Kentucky.

This exhibition was made possible with support from Frank and Mary Ann Arisman, Christian K. Keesee, and Richard and Ellen Kelson. 

International Center of Photography

November 30, 2004

Papiers Qualité Photo Verbatim : Nouveautés 2004



Papiers Qualité Photo Verbatim : Double face et Premium

L'extension de la technologie photo numérique s'accompagne d'une forte demande de papiers de qualité photo. Verbatim,  filiale de Mitsubishi Kagaku Media, surtout connu comme un des leaders sur le marché des supports de stockage de données, lance deux nouveaux produits conçus pour satisfaire les besoins des photographes.

Le Papier Qualité Photo Double Face de Verbatim sèche instantanément. Le papier a une face en finition brillante et l’autre en finition mate. Le Papier Qualité Photo Recto Verso de Verbatim est conditionné en pack de 100 feuilles 10x15 cm, légères et résistantes à l’eau. Chaque feuille pèse 220 g pour 275 microns et peut être imprimée jusqu'en 1440 dpi.

Verbatim annonce aussi la disponibilité de son Papier Qualité Photo Premium. Le format est de 10x15 cm en pack de 24 feuilles. Il pèse 254 g, sèche également instantanément, résiste à l'eau résistance à l’eau et et peut être imprimé jusqu'en 1440 dpi.

Mise à jour

November 18, 2004

Mary Kim - Exhibition at MONA

Mary Kim, Oblique Structure: Odradek Tower. Drawings and Models

Detroit' Museum of New Art, November 13 - December 18, 2004

Mary Kim, a Cranbrook graduate and instructor at the College for Creative Studies, takes center stage at MONA with her colorful geometric towers, some of steel and some of wood. Simple yet complex, her painted pieces change as you move around the gallery, revealing hidden negative spaces and subtle shifts in color that are engaging.

MONA - MUSEUM OF NEW ART
7 N. Saginaw St.
Pontiac, Michigan 48342

Young Artists Exhibition at MONA in Detroit, Michigan

Museum of New Art, Pontiac, Michigan

The Museum of New Art's (MONA) new show reveals more than meets the eye. Head to the museum's Pontiac complex to see "The Next Big Thing", featuring new work by young artists, working in all disciplines.

Some standouts include Cynthia Randolph's studies of time and timing depicted in a series of digital photographs. One chronicles one day of urine flushing down toilet bowls, resulting in a grid of colors and gradations in light that don't look anything like what they are. Another work discovers the beauty of a surgical mask, light and disposable but able to protect from disease. The artist previous exhibition includes two National Scholastic Exhibit at Corcoran Gallery of Art, Washingthon, DC, in 1992 and 1994, A Sculpture Show at the University of Wisconsin-Madison (1998) and two exhibits at Melting Point Gallery, San Francisco, California in 2001 and 2003.

Roland Lusk has created a room installation that takes you into a verdant yet somewhat sickly forest. Leaves of green fabric are suspended from the ceiling and stuck on the walls along with painted white tree fungus and antlers. The walls are papered in an oversized digital print - a cowhide tinted grass-green.

Michelle Hinebrook creates highly textured and veiled paintings – some pure abstractions, others with hidden figures – on tiles covered with netting culled from produce bags found on fruits and vegetables.

Other artists' include Kelly Rosebrock who has captured "fingerprints" of individual cell phones in her sparse, colorful photographs; Narine Kchikian, who curated the show, has created a minimalist room installation where illusions come into play; Georgia Vandewater, who creates paintings in vinyl that are variations on Da Vinci's "Circle of Man"; the artist Unholy Erection has created a funhouse of gender coding in his installation of photos and video; and Gabriel Hillebrand whose work in the Annex on the first floor combines grids, string  and books into a playful sculpture.

THE NEXT BIG THING
November 13 - December 18, 2004

MONA - MUSEUM OF NEW ART, DETROIT
7 N. Saginaw St.
Pontiac, Michigan 48342

November 3, 2004

Jona Frank: High School photographs exhibition at Foley Gallery, New York

Photography Exhibition - Jona Frank:  High School
Foley Gallery, New York
September 23 ­ November 27, 2004

MICHAEL FOLEY opens Foley Gallery this fall after 15 years of working with notable photography galleries including Fraenkel Gallery, Howard Greenberg Gallery and Yancey Richardson Gallery.  He is on the faculty of the International Center of Photography, New School University and the School of Visual Arts where he teaches and lectures on issues in contemporary photography.

In the spirit of photographer August Sander, JONA FRANK sets out to record the social dynamic of the American public high school by examining the adolescent social experience.  For three years, Frank visited high schools across the United States, exploring the layered cliques, stereotypes and personalities that grow during the social experiment of high school.

Innocent, revealing and fresh, this series of color portraits from High School capture a turbulent period of experimentation and role-playing many teenagers confront as they attempt to find their place in the social landscape.  The range of these expressive uniforms that Frank uncovers, from the Cheerleader to the Chess Clubber to the X-File Fan serve as a microcosm for a society at large.

Through her photographs we discover a revealing search for identity and the battle with conformity.

Frank’s portraits can evoke a sense of the familiar, connecting the viewer with the universal high school experience while evincing the freshness and individuality of today’s teenager.  The result is a perpetual, timeless and oddly recognizable return to high school.

Coinciding with her exhibition, Arenas Street Publishing will release the book of JONA FRANK’s photographs HIGH SCHOOL with a special forward by Gus Van Sant.

FOLEY GALLERY, NYC - foleygallery.com

October 29, 2004

Store 'n' Go 5 en 1 de Verbatim : photo, vidéo et plus encore

Nouveauté 2004 : L'appareil compact multifonction Store 'n' Go 5 en 1 de Verbatim

Stockage de données, appareil photo numérique, caméscope numérique, Web Cam et dictaphone, c'est le Store 'n' Go 5 en 1 de Verbatim.

Store 'n' Go 5 en 1 de Verbatim

Dans cet appareil très compact, Verbatim a incorporé un appareil photo numérique qui peut prendre et stocker jusqu’à 3000 photos en 320 x 240 pixels, un caméscope numérique qui peut enregistrer jusqu’à 12 minutes de vidéo  en 640 x 480 pixels à 30 images par seconde. Le 5 en 1 peut aussi servir de Web Cam et enregistrer jusqu’à 112 minutes de voix. Grâce à sa connexion USB le 5 in 1 Store 'n' Go de Verbatim se branche sur tout ordinateur.

October 25, 2004

Agfa Gevaert - Agfaphoto

La division Consumer Imaging (photo argentique et numérique) quitte Agfa-Gevaert et prend un nouveau départ avec AgfaPhoto

L'ancienne division photo d'Agfa-Gevaert renaît sous un nouveau jour, AgfaPhoto. Ainsi, dès le 1er novembre 2004, la division Consumer Imaging (C.I.), qui comprend les pellicules et les équipements de laboratoires photo, sera définitivement séparée du groupe Agfa-Gevaert, et formera une nouvelle société indépendante opérant sous le nom d'"AgfaPhoto".
Basée à Leverkusen (en Allemagne), la nouvelle structure mondiale aura pour Président Directeur Général, Eddy Rottie. Quant à Agfaphoto France, elle sera dirigée par Serge Carbonne, actuellement directeur de la division Consumer Imaging. La nouvelle société restera basée pour le moment à Rueil-Malmaison, en région parisienne, louant locaux et services à Agfa.

Agfaphoto a déjà donné le ton lors du salon Photokina (en Allemagne), il ne s'agit pas d'abandonner le film argentique ; Agfaphoto entend rester l'un des principaux producteurs de pellicules. Quant au numérique, il restera plus que jamais au cœur des préoccupations d'AgfaPhoto.

Pour preuve, les produits phare seront des cartes mémoire pour appareils photo numériques, le nouvel équipement de laboratoire numérique, d-lab.1s doté de la fonction a-REDC (correction automatique des yeux rouges), le kiosque permettant de recevoir et d'imprimer des images provenant de téléphones mobiles avec option photo, ainsi que de nouvelles solutions d’e-commerce. AgfaPhoto lance également de nouveaux films car la photographie argentique reste un segment important du marché de l'imagerie, le parc d'appareils photo classiques étant très étendu.

- Présentation de la société AgfaPhoto
AgfaPhoto est une société privée qui appartient à la direction du Consumer Imaging (25% sous forme de MBO), à la holding d’investissement NannO Beteiligungsholding (55%) ainsi qu’à deux actionnaires minoritaires, Abrams Capital (10%) et Highfields Capital (10%), tous deux investisseurs institutionnels basés aux Etats-Unis.

La nouvelle société reprend la totalité des activités C.I., à savoir : les films, le papier, la chimie, les équipements de laboratoire et le service. Elle continuera par conséquent de servir tous les clients et marchés photo à l’échelle mondiale.

Les investisseurs et l’ensemble de l’équipe d’AgfaPhoto auront un but commun : le développement profitable d’AgfaPhoto en tant que société majeure dans l’industrie photographique. Dotée d’une solide assise financière (300 millions d’Euros de capitaux propres, soit un ratio de 40%), AgfaPhoto sera gérée avec un maximum de flexibilité pour s’adapter à un marché en évolution rapide et faire face aux nouveaux marchés.

Agfa a conclu un accord de licence en vertu duquel AgfaPhoto pourra utiliser la marque Agfa pour la commercialisation des produits grand public photo pendant une durée illimitée. Au plus tard 18 mois après la séparation, le lancement de la marque AgfaPhoto aura lieu pour les produits de finishing (papier, chimie) et l’équipement de laboratoire.

- Des solutions innovantes dédiées à la photographie argentique et numérique
Qu’il s’agisse de photos prises avec un appareil photo argentique, avec un numérique ou un téléphone mobile équipé d’un appareil photo : les tirages papier peuvent être réalisés à partir de n’importe quel support. Soit localement via un minilab, soit dans un laboratoire industriel de production.
Le produit clé d’AgfaPhoto pour le traitement sur site est le d-lab1, un minilab numérique tout-en-un. Lancé sur le marché au printemps 2004, il a rapidement pris la tête de la famille des minilabs Agfa. Mais les minilabs de moyenne et haut de gamme, respectivement le d-lab.2 et le d-lab.2plus, ont également connu des modifications et sont maintenant commercialisés en version « select ». Pour tous les minilabs, la nouveauté réside dans la fonction a-REDC de correction automatique des "yeux rouges".
Le produit phare de cette fin d'année est le kiosque, système qui permet de tirer instantanément et en libre-service des photos numériques sur papier à sublimation thermique.
Etant donné le nombre de tireuses haut débit installées, AgfaPhoto est le N°1 mondial du marché des industriels de la production. Le d-ws, conçu pour une capacité de 20 000 tirages à l’heure, sera également équipé de la solution a-REDC.

Les services Internet, tels que le service de tirages en ligne, l'Agfanet Print Service, et l’Album Web deviennent de plus en plus importants. AgfaPhoto suivra cette tendance et présentera des versions entièrement remodelées de ses services.

Le marché du film étant toujours un marché très important, AgfaPhoto n'a pas fini d'améliorer ses produits et ses nouveaux films photo Vista dotés de la technologie Eye Vision 3.0 en sont la preuve. Ces nouveaux films sont également intégrés dans les nouveaux prêts-à-photographier – un segment de marché qui enregistre encore de forts taux de croissance au niveau international et qui sera développé par la nouvelle entité.

Compte tenu de l’explosion du marché des appareils photo numériques, les cartes mémoires sont également en forte croissance. Leur fonction est très proche de celle d'un film. C’est donc en toute logique que l'un des premiers fabricants de films se lance sur ce marché, avec une gamme de produits adaptés aux différents groupes d’utilisateurs et d’appareils photo. Dans ce contexte, AgfaPhoto fondera sa stratégie marketing sur son expertise acquise dans la photographie argentique : ces supports de stockage numériques seront commercialisés sous le nom de "Agfa Digital Film".

- L’accent sera mis sur les systèmes de production de tirages
Les solutions de tirages sur papier d’images analogiques et numériques seront également au cœur des préoccupations d’AgfaPhoto – car les consommateurs ne souhaitent pas abandonner les tirages papier. Les tendances du marché le confirment : le nombre d’images numériques tirées sur du papier photo augmente beaucoup plus vite que les ventes d’appareils photo numériques elles-mêmes.

La photographie numérique est désormais un marché de masse. En conséquence, elle a atteint le grand public qui ne veut pas seulement stocker ses photos sous forme numérique, mais aussi avoir entre les mains de vrais tirages et peut-être les mettre dans un album. C’est pour cette raison que le laboratoire photo offre non seulement des tirages d'excellente qualité, à un coût nettement moins élevé que celui des tirages sur imprimante à domicile. De plus, des tirages sur papier photo garantissent la possibilité de regarder ses images des années et des années plus tard.
Après tout, du fait du rythme rapide de développement du marché de l’électronique, ceux qui ne font que sauvegarder leurs photos sous forme de fichier numérique courent le risque que le matériel et les logiciels nécessaires à leur visionnage ne soient plus disponibles dans dix, vingt ans ou plus. Quel PC actuel est-il encore capable de lire les données enregistrées dans les années 80’ et 90’ ?

October 22, 2004

Samsung SCH-S250 : 5-Megapixel Camera Phone

SAMSUNG Introduces World’s First 5-Megapixel Camera Phone : the SCH-S250


Samsung S250
Samsung S250
(c) Samsung


Samsung Electronics unveils the world's first mobile phone (model: SCH-S250) equipped with a 5-megapixel camera. Just one year after the introduction of its first 1-megapixel camera phone and 3 months after its first 3.2-megapixel camera phone, Samsung proves its technological prowess again with this revolutionary product.

The CCD (charge-coupled device) camera and high-sensitivity flash allow the user to take the same quality pictures one gets from a top-end digital camera. Similar to Samsung's premium grade camera phones, the S250 can also function as a camcorder. The 92MB onboard memory can store up to 100 minutes of video (320x240), and a 32MB auxiliary memory is included as a standard feature. The shutter speed is as fast as 1/1,000 th of a second, allowing the user to film beautiful landscapes as well as subjects as close as 10 cm. The S250 can be connected to a TV to display video during shooting or to show footage that has already been recorded in the mobile phone.

The S250 comes with a unique “stretch” design, reminiscent of the futuristic phones seen in the movie The Matrix . The high-quality camera lens and LCD remain covered and protected when the phone is closed, and when it is stretched open, the product has the feel of a regular digital camera.

Samsung has also set a new standard in mobile phone display technology. Until now, mobile phones had been equipped with LCDs capable of 262,000-color resolution. The S250 boasts a QVGA TFD-LCD (Thin Film Diode-Liquid Crystal Display) that has previously been adapted only for top-end TVs and desktop monitors. The display can reproduce 16 million colors, over 60 times the color compared to existing mobile phone displays, all the hues found in nature; thus, QVGA resolution has been referred to as “true color.”

Samsung has also taken voice recognition to a higher level by introducing text-to-speech (TTS) conversion. Now the user can listen to incoming text messages or the prepared “to-do” list rather than having to read them.

The S250 supports high-image-quality games and 3D sound effects. If a call is received in the middle of a game, the user can restore the game later and resume play.

Other advanced functions in the S250 include an MP3 player, mobile banking capability and 64-polyphonic sound.

According to President & CEO Kitae Lee of the Samsung Electronics, “Our development of a 5-megapixel camera phone will elevate the competitiveness of the Korean mobile phone industry. At the same time, I would like to see our technological advances contribute to the growth of the global mobile phone industry and create a more convenient way of life.”

President Lee adds, “It's very important to lead the trends through continuous introductions of innovative new products. Samsung Electronics possesses the world's leading technologies and state-of-the-art design capabilities, and we are committed to developing distinctive products for our customers.”

Samsung cooperated with the Japan-based Asahi Pentax, one of the most respected camera lens providers in the world, to develop a camera module customized for the mobile phone. This partnership began in the first-half of 2003.

The SCH-S250 will be available in the Korean market this October.

www.samsung.com

October 20, 2004

Expositions Culture Design, Palais de la Porte Dorée, Paris

Culture Design 
Palais de la Porte Dorée, Paris
20 octobre 2004 - 16 janvier 2005

Renaud Donnedieu de Vabres, ministre de la culture et de la communication, a inauguré mardi 19 octobre 2004, l’exposition Culture design, qui présente, pour la première fois à Paris, plus de 2000 objets des collections publiques.

En présence de nombreux désigners, (François Bauchet, Matali Crasset, Frédéric Ruyant, Robert Stadler etc.), le Ministre a rappelé que « le design occupe un espace considérable dans le champ de la création contemporaine. Le dynamisme et la qualité des designers qui vivent et travaillent dans notre pays, la vitalité de ceux qui, éditeurs, entreprises, marchands, oeuvrent à sa diffusion et à sa rencontre avec le public, confèrent à la France, en la matière, une position de choix sur la scène internationale ».

C’est de la volonté de donner au plus grand nombre les références, les outils nécessaires à la connaissance et à la compréhension de ce champ de la création contemporaine qu’a procédé la conception cette manifestation.

Cet événement, conçu comme un diptyque réunit deux expositions :

    - Design en stock, 2000 objets du Fonds national d’art contemporain (FNAC)
    - Mobilier national : 40 ans de création

          -  Design en stock rend compte de la diversité de la collection du FNAC, riche de plus de 5000 objets de la seconde moitié du XXe siècle, ce qui la situe au tout premier rang des collections contemporaines. Elle regroupe des objets principalement destinés à l’habitat domestique, parmi lesquels le public reconnaîtra, des objets familiers. Les objets sélectionnés sont identifiés et classés en 13 zones selon la rigueur pragmatique d’un inventaire : designers, éditeurs, datations, types, matériaux et techniques, nationalités, dimensions, ensembles, stades de production, lieux de fabrication, tirages, couleurs, nombres d’éléments. Elles offrent autant de points de vue différents sur les objets et sur la collection. Ce classement a été traduit par une scénographie originale, imaginée par Konstantin Grcic, designer allemand, permettant au visiteur de découvrir l’exposition depuis des passerelles métalliques surplombant les 2000 objets.

          -  Mobilier national : 40 ans de création (1964-2004) réunit une centaine de pièces uniques réalisées depuis 40 ans par une cinquantaine de créateurs au sein de l'Atelier de Recherche et de Création du Mobilier national. Depuis sa création, l'ARC est le laboratoire où s'exerce une intense activité de recherche et de création sur les formes, les matériaux et les techniques. Vingt ans après l'exposition bilan Mobilier national : 20 ans de création présentée en 1984 au Centre Georges Pompidou, cette exposition est notamment l'occasion de mesurer, la contribution de l'atelier au renouveau voulu par les présidents Pompidou ou Mitterrand dans les décors de l'Elysée, en liaison avec des créateurs tels que Pierre Paulin, Olivier Mourgue, César, Jean-Michel Wilmotte, Etienne Hajdu, Andrée Putman …; c’est aussi l'occasion de découvrir les pièces les plus récentes, inédites, crées ces dernières années ou achevées en 2004.

October 14, 2004

Aquisition de Jasc Software par Corel

Corel Corporation élargit son portefeuille de produits graphiques
Corel a annoncé l’acquisition de Jasc Software, éditeur de Paint Shop, une famille d’applications d’édition photo et d’images numériques. Étape clé dans la mise en oeuvre de sa stratégie, cette acquisition s’ajoute à quatre trimestres consécutifs de résultats positifs et à la refonte complète des activités depuis qu’elle est devenue une société à capitaux fermés en août 2003. De sa position renforcée sur le marché des applications bureautiques et graphiques, Corel pourra désormais offrir à ses clients, dénombrés à plus de 60 millions dans le monde entier, un portefeuille élargi de produits novateurs et spécialisés — édition photo, conception graphique, illustration vectorielle, illustration technique — sans oublier son produit renommé WordPerfect. La transaction devrait être finalisée officiellement d’ici fin octobre 2004.
Corel aura toujours son siège social à Ottawa (Canada) et continuera à exploiter l’établissement à Minneapolis, où Jasc développe Paint Shop. Amish Mehta restera à la tête de la société et plusieurs dirigeants de Jasc se joindront à l’équipe Corel.
Corel entend offrir Paint Shop Pro, Paint Shop Pro Studio et Paint Shop Photo Album sous forme de produits autonomes et continuera à fournir à l’échelle mondiale des services d’assistance sous sa propre bannière. De plus, elle appuiera activement les nouvelles initiatives en recherche et développement destinées à pérenniser la gamme Paint Shop et à garantir la réussite commerciale de la prochaine génération de produits.
En août 2003, Corel a été acquise par Vector Capital Group, une société de capital-risque basée à San Francisco et gérant actuellement plus de 500 millions de dollars en capital. Depuis, Corel a mis en oeuvre une stratégie produit et commerciale bien définie, laquelle consiste à revaloriser les produits les mieux implantés, soit WordPerfect Office, la Suite graphique CorelDRAW et Corel Painter, et à rationaliser ses activités et sa gamme de produits. Forte du soutien de Vector et de cette nouvelle acquisition, qui n’en est que la première, Corel est sans doute en passe de connaître un nouvel essor.
Développant son offre de produits prisés par des millions d’utilisateurs en raison de leur bon rapport qualité-prix, et à laquelle s’ajoute la famille Paint Shop, Corel entend conquérir des parts de marché dans deux secteurs clés, entreprises et grand public, où débutants et professionnels bénéficient désormais de solutions complètes, qu’il s’agisse simplement d’organiser ou de partager des photos, de retoucher et d’enrichir des images ou encore de créer et de modifier des graphismes complexes.
Corel accroît sa visibilité sur le marché porteur des applications numériques
« L’acquisition de Jasc nous permet de pénétrer le marché des logiciels de traitement d’images, un des secteurs clés visés par notre stratégie de croissance » a déclaré Amish Mehta. « La famille Paint Shop apporte d’excellents produits d’entrée de gamme qui permettront à Corel d’acquérir des millions de nouveaux clients. À long terme, nous gagnerons la fidélité de ceux qui achètent régulièrement des logiciels d’édition de photo numérique, un segment du marché actuellement en plein essor ».
Selon InfoTrends/CAP Ventures, les appareils photo numériques se généralisent et, à l’échelle mondiale, le marché devrait croître de près de 20 p. 100 (TCAC), soit la vente de plus de 100 millions d’appareils en 2008 par rapport aux 45 millions vendus en 2003. Une enquête conduite récemment par InfoTrends/CAP Ventures révèle également que 55 p. 100 des propriétaires d’appareils numériques achètent des logiciels complémentaires pour gérer et améliorer leurs photos numériques.
La famille Paint Shop, dont les produits phares sont Paint Shop Pro, Paint Shop Pro Studio et Paint Shop Photo Album, est non seulement réputée pour ses innovations, mais aussi pour la qualité de l’expérience numérique qu’elle procure aux utilisateurs de tous niveaux, du débutant au professionnel. « Bien connue du public, la famille de produits Paint Shop s’ajoute naturellement au portefeuille Corel et y apporte des gains d’efficacité », poursuit Amish Mehta. « Comme Corel, Jasc a toujours mis sur le marché des solutions graphiques novatrices, fiables, faciles d’emploi et économiques à tous égards. Cette acquisition témoigne donc de notre volonté d’élargir notre gamme de produits et de croître notre clientèle souhaitant bénéficier du meilleur rapport qualité-prix. »
Développer la clientèle au travers du réseau de distribution mondiale
Prises ensemble, Corel et Jasc disposent d’un important réseau de distribution mondiale qui, s’appuyant sur les nouvelles synergies, leur fera conquérir de nouvelles parts de marché. Ce réseau comprend plus de 5 000 revendeurs VAR et de grands détaillants implantés dans 75 pays.
En outre, Corel et Jasc ont réussi à conclure avec plusieurs acteurs majeurs, dont DELL Computer et Wacom, des partenariats OEM importants. Ces contrats OEM continueront à se développer et conforteront la position de Corel sur un marché à forte croissance.
Stratégie de croissance axée sur des profits record et des orientations décidées
Cette année, Corel a réalisé des profits records et enregistre sur toute sa gamme de produits des taux de croissance appréciables. En acquérant la famille de produits Paint Shop, la société est positionnée pour profiter de la progression du marché des applications d’édition de photo et d’images numériques.
« Cette fusion porte toutes les marques d’une très bonne affaire, parce que les deux sociétés ont besoin de ce que l’une et l’autre avaient à offrir », explique Rob Enderle, analyste principal chez Enderle Group. « Corel possède une solide marque internationale et des produits bien tournés vers les photographes numériques professionnels, mais elle avait besoin de produits d’entrée de gamme tout aussi solides que ceux de Jasc pour accroître sa clientèle. Inversement, Jasc avait besoin de la force d’action d’une marque internationale et un ensemble de produits robustes pour élargir sa base de clients. C’est maintenant chose faite, et les deux sociétés pourront désormais offrir à la fois aux entreprises et au grand public un choix de produits qui séduiront autant par leur fiabilité que par leurs prix compétitifs. »
A propos de Jasc Software
Grand éditeur de logiciels de photographie et d’imagerie numériques, Jasc offre une famille de produits de premier choix dont Paint Shop Pro, Paint Shop Pro Studio et Paint Shop Photo Album. Conçus pour débutants et professionnels, ces produits enrichissent l’expérience numérique des utilisateurs en les invitant à se découvrir de nouvelles possibilités d’évolution. Les produits Jasc s’utilisent sous Windows, et leur convivialité, conjuguée avec l’assistance dont ils bénéficient, en fait une solution abordable.
A propos de Corel
Réputée pour ses produits graphiques et bureautiques, surtout la Suite graphique CorelDRAW, WordPerfect Office et Corel Painter, une application de peinture et d’illustration Natural-Media, Corel Corporation propose des solutions novatrices prisées par des millions d’utilisateurs dans plus 75 pays, en raison de leur excellent rapport qualité-prix et des gains de productivité qu’elles permettent. En août 2003, Corel est reprise par Vector Capital Group, société de capital-risque basée à San Francisco, et, depuis lors, a enregistré des profits record et des taux de croissance sur toute sa gamme de produits. Corel est, depuis sa création en 1985, basée à Ottawa, au Canada. Pour en savoir plus, vous pouvez consulter son site internet : www.corel.com

Andrew Wyeth Retrospective at Philadelphia Museum of Art

Andrew Wyeth: Memory and Magic
Philadelphia Museum of Art
March - July 2006

The Philadelphia Museum of Art, in partnership with the High Museum of Art in Atlanta, will present Andrew Wyeth: Memory and Magic , a retrospective that surveys seven decades of the artist’s achievement. The exhibition will be seen in Atlanta (November 2005-January 2006) before coming to Philadelphia, where it will be on view from March until July 2006.

Anne d’Harnoncourt, Director of the Philadelphia Museum of Art, said: "Wyeth’s art grew out of his boyhood experiences both in the Brandywine Valley near Philadelphia and on the coast of Maine, and his intensely personal vision has been etched in the American national consciousness for at least half a century. While many of his landscapes and interior views seem familiar to those of us who live in Southeastern Pennsylvania, Wyeth’s work is ultimately elusive and enigmatic in its meaning. We hope this exhibition will provide a deeper understanding of his contribution to American art."

John Wilmerding, the Christopher Binyon Sarofim Professor of American Art at Princeton University and Senior Advisor to the Center for American Art at the Philadelphia Museum of Art, is preparing an introduction to the scholarly volume that accompanies the exhibition. He noted: "As we reexamine the full range of Andrew Wyeth’s art, from landscape to figure subjects, we intend to show the various ways in which his creativity has transformed the ordinary and familiar."

Andrew Wyeth: Memory and Magic will present about 100 tempera paintings, watercolors, and drawings from the 1930s to the present. It will explore in depth Wyeth’s frequently unadorned and often haunting images—ranging from meditative, softly lighted vessels and containers to scenes of stark rooms, windows with curtains lifted in the breeze, barren hills, and people lost in deep introspection.

The exhibition is organized by the High Museum, Atlanta with the collaboration of the Wyeth family and the Philadelphia Museum of Art.

The curatorial team for Andrew Wyeth: Memory and Magic includes guest curator Ann Knutson for the High Museum of Art, and, at the Philadelphia Museum of Art, Kathleen L. Foster, the Robert L. McNeil Curator of American Art, and Michael Taylor, the Muriel and Philip Berman Curator of Modern Art.

Catalogue
In the fully illustrated catalogue, published by the High Museum of Art, guest curator Anne Knutson will explore the central role of objects in Wyeth’s art and situate these works in the larger context of American art. Kathleen Foster will discuss the artist’s tempera painting Ground Hog Day (1959) in terms of its meaning and technique and related works in tempera, watercolor, and drawing; and Michael Taylor will write about Wyeth’s relationship to currents in Realism and Surrealism in the 1930s and 1940s. Christopher Crosman, the Director of the Farnsworth Art Museum, will examine the role of Betsy Wyeth in the artist’s life and art.

About Andrew Wyeth
Born in 1917 in Chadds Ford, Pennsylvania, southwest of Philadelphia, Andrew Wyeth is one of America’s most highly regarded living artists. The youngest of five children, Wyeth received his artistic training from his father—the famed illustrator Newell Convers (N.C.) Wyeth. During annual vacations in Maine, Andrew Wyeth explored watercolor and tempera; both would become signature mediums for his work. Subject matter for Wyeth’s painting and drawing came primarily from his surroundings in Pennsylvania and Maine. In 1939, Wyeth married Betsy James and they had two sons, Nicholas and James (Jamie). Jamie Wyeth, a much-exhibited painter and watercolorist, is the third-generation artist in the family.

In 1936, at the age of 19, Andrew Wyeth held his first solo exhibition, at the Philadelphia Art Alliance. In 1963, President Kennedy awarded Wyeth the Presidential Medal of Freedom—the first visual artist to be honored with the nation's highest civilian award. Opened in 1971, the Brandywine River Museum, in Chadds Ford, Pa., became closely associated with the Wyeth family and is among the largest repositories of the Wyeth artists’ work. In 1990, Andrew Wyeth was awarded the Congressional Gold Medal, again the first artist to receive this honor.

Andrew Wyeth at the Philadelphia Museum of Art
In 1959, the Philadelphia Museum of Art acquired Ground Hog Day (1959), one of Wyeth’s best-known tempera paintings, in which pale sunlight rakes across a windowsill and strikes the flowered golden wallpaper of a kitchen in the Kuerner farm, Chadds Ford, where a table is set for one. The Museum has since added to its collections other important works by Wyeth, including Cooling Shed (1953), acquired in 1998, and the early tempera Public Sale (1943), acquired in 2001. Both were included in the exhibition celebrating the Museum’s 125th anniversary in 2002. These three works are currently on view in Gallery 119 of the American Wing.

Philadelphia Museum of Art
www.philamuseum.org

October 1, 2004

Josef and Anni Albers: Designs for Living Exhibition

 

Josef and Anni Albers: Designs for Living

Cooper-Hewitt, National Design Museum, NYC

October 1, 2004 - February 27, 2005 

 

Josef and Anni Albers: Designs for Living, an exhibition chronicling the Alberses’ extraordinary designs for objects for everyday living, will be on view at Smithsonian’s Cooper-Hewitt, National Design Museum. Curated by Nicholas Fox Weber, executive director of The Josef and Anni Albers Foundation, Josef and Anni Albers: Designs for Living explores the domestic creations of these pioneering artists from the early 1920s through the 1950s, as their designs developed from their days as students in Germany’s famed Bauhaus School to their arrival upon the American scene. The exhibition reveals the full extent of the Alberses’ mutual aesthetic commitment, perpetual creativity and contribution to modern living.

Josef Albers (1888-1976) was one of the most pioneering and respected artists of his era, excelling as a painter, printmaker, designer, writer and teacher. His wife Anni Albers (1899-1994) is considered by many to be the foremost textile artist of the 20th century.

Although the pair did not collaborate artistically, they shared a vision and developed a design philosophy that helped to transform the look of the modern domestic interior. Anni and Josef Albers embraced the fundamental idea that everyday life can be enhanced and enriched through design. Individually, their work displayed brilliance and versatility; together, their shared aesthetic formed an enduring legacy, which, until now, has scarcely been known to the public. The seminal ideas of these partners in life and design will be explored for the first time through the domestic objects featured in this exhibition.

Subscribing to the belief that art is everywhere, Josef and Anni Albers designed an array of innovative furniture, textiles and tabletop objects not only for themselves but also for use by others in their social and artistic circle, including Walter Gropius, founder of the influential Bauhaus. “Designs for Living” will include several domestic creations developed in their Dessau (Germany) Bauhaus apartment and in Berlin, many of which have never been shown publicly. 

Josef Albers has been the subject of numerous retrospectives at major institutions, including the Metropolitan Museum of Art, where he was the first living artist ever to be given a one-person show, and the Solomon R. Guggenheim Museum. Josef Albers was one of the few students to be made a Junior Master at the Dessau Bauhaus and was an active instructor until 1933, when the school closed under pressure from the Nazis. Later that year, Josef and Anni Albers emigrated to Black Mountain College—a groundbreaking institution in North Carolina, known as a nurturing ground for such cultural icons as John Cage, Merce Cunningham, and Buckminster Fuller. In 1950 they moved to Connecticut, where Josef Albers headed the Department of Design at Yale University. In the last 25 years of his life, Josef obtained an international reputation for his Homage to the Square paintings as well as for his teachings and writings on color.

Featured in “Josef and Anni Albers: Designs for Living” are dozens of Josef’s objects, ranging from holiday greeting cards to glass-top nesting tables, all of which are simple in form and radiant in color. Josef’s extraordinary ability to use a lean aesthetic vocabulary and minimal means to obtain complex results is demonstrated through the exhibition of items such as his fruit bowl and tea glass, glass paintings, LP album covers and fireplace designs. Also on view together, for the first time, will be furniture designed by Josef for the Moellenhoff apartment in Berlin―his first major furniture commission. 

Anni Albers has influenced generations of designers through her weavings as well as through her teaching and writing. She entered the Bauhaus in 1922 as a student and in 1930 briefly served as director of its weaving workshop. In those early years Anni Albers was already gaining recognition as a major artist and designer from contemporaries such as Sonia Delaunay. After arriving in America, she took her textile work in unprecedented directions and began to exercise great influence in the field. In 1949, Anni was commissioned by architect Philip Johnson to design curtains for the stylish guesthouse of the John D. Rockefeller III family. Later that year, she became the first textile artist to have a solo exhibition at the Museum of Modern Art in New York. She has been honored with several retrospectives at major institutions such as the Smithsonian Institution’s Renwick Gallery of the National Museum of American Art, the Peggy Guggenheim Collection in Venice, and the Musée des Arts Décoratifs at the Louvre in Paris. Today, Anni’s textiles continue to influence, inspire and delight as new generations are introduced to her work.

  On view will be many of Anni’s austere and experimental designs from her years at the Bauhaus, as well as the more playful and exuberant examples from her years in the United States. More than 50 examples of her textiles and designs, some of which have never been shown before, will be featured in the exhibition, including: the Rockefeller guesthouse draperies; wall hangings that were pioneering forays into abstract art; jewelry made from ordinary objects such as paper clips and sink strainers; and a large sampling of her upholstery and drapery materials and other fabrics for everyday living.

Josef and Anni Albers: Designs for Living has been organized by Cooper-Hewitt, National Design Museum, Smithsonian Institution, and The Josef and Anni Albers Foundation.  Additional support was provided by Maharam.

Curators:  Nicholas Fox Weber, executive director of The Josef and Anni Albers Foundation,  and Matilda McQuaid, in-house curator, Cooper-Hewitt, National Design Museum.

Exhibition Catalog:   This exhibition will be accompanied by a major catalog with original writings by Josef and Anni Albers, and essays by Nicholas Fox Weber and Martin Filler, a frequent contributor to The New York Times Book Review, The New York Review of Books and House & Garden magazine.

Exhibition Designer:  Toshiko Mori, Toshiko Mori Architect
Lighting Designer:   Anita Jorgensen, Anita Jorgensen Lighting Design

 

Josef and Anni Albers: Designs for Living
October 1, 2004 - February 27, 2005

Cooper-Hewitt, National Design Museum
2 East 91st Street 
New York,  NY 10128 

September 28, 2004

Eizo New LCD Monitor at Photokina 2004

EIZO Introduces ColorEdge CG220 LCD Monitor at Photokina 2004

22.2-inch wide screen monitor covers Adobe® RGB color space

Cologne, Germany, September 28, 2004

Eizo Nanao Corporation ("EIZO") is unveiling its ColorEdge CG220 LCD monitor featuring 100% support for the Adobe RGB color space at Photokina 2004, one of the world’s leading trade fairs for the photographic and imaging sectors.

The wide color gamut of the ColorEdge CG220 provides a vast range of displayable colors compared to conventional monitors, which typically cover the smaller sRGB color space.

To ensure suitability for complex imaging tasks and color management, EIZO has equipped the ColorEdge CG220 with several features such as improved rendering of dark grayscale tones, emulation of the color characteristics of other monitors, and black level adjustment.

The CG220 and other EIZO ColorEdge products are on display at Photokina 2004 in Hall 10.1 Booth B048.

Corel Painter IX

Corel annonce la sortie prochaine de Corel Painter IX, première application de peinture et d’illustration Natural-Media. Elle sera disponible dès octobre en version anglaise. Pour de nombreux artistes, qu’ils travaillent dans les beaux-arts ou qu’ils soient cinématographes, développeurs de jeux, concepteurs, illustrateurs ou photographes, Corel Painter apparaît comme une référence. On l'aurait imaginé, chez Corel, on insiste sur l'aspect irremplacable du logiciel : “ Les professionnels nous répètent qu’il n’y a simplement pas d’alternative à Corel Painter, car cette application est la seule à leur offrir la puissance et la polyvalence nécessaires pour créer des chefs d’oeuvre et se faire un nom ”, affirme ainsi Nick Davies, directeur des produits graphiques chez Corel. “ Corel Painter IX relève la barre des performances en ce sens qu’elle propose des outils qui redéfinissent l’art numérique, favorisent la créativité et simplifient le flux de travail. Les professionnels de l’image ont donc tout à gagner, qu’ils soient d’inspiration traditionnelle ou numérique ”, ajoute Davies.

Ce qui est certain, c'est que la nouvelle version de Painter est riche en nouveautés et en amélioration. Et cela ne pourra que ravir ses utilisateurs. Voici ce qu'on peut relever :

Painter IX permet un gain d'efficacité

  • Vitesse d’exécution améliorée : Plus rapide, Corel Painter IX offre des styles ou pinceaux qui fonctionnent en moyenne deux ou dix fois plus vite.
  • Nouvel écran de bienvenue : Conçu pour faciliter la mise en route, cet écran vous accueille au démarrage et donne accès, entre autres, à la galerie principale de Corel Painter IX et aux réglages de la sensibilité à la pression.
  • Nouveauté et amélioration - Palettes Options de styles : Arrimées à tous les réglages et commandes, ces palettes vous permettent de modifier à la volée paramètres et variables en faisant glisser simplement les curseurs, sans perturber votre flux de travail.
  • Nouveauté - Réglage Images/seconde : Avec cette commande, les animateurs peuvent tester la fréquence d’images, régler celle-ci et même prévisualiser les images à une cadence comprise entre 1 et 40 images par seconde.
  • Nouveauté - Raccourcis sur mesure permettant de baliser le parcours utilisé en personnalisant aussi bien les raccourcis clavier que votre flux de travail.

Painter IX offre des outils permettant des gains en terme de créativité

  • Nouveauté - Huiles de l’artiste : Ce système de peinture marque une amélioration dans l’art numérique puisque qu'il tend à confèrer aux créations le naturel et la texture des peintures traditionnelles à l’huile.
  • Nouveauté - Magnétiser le tracé : Peindre ou dessiner une courbe ou une forme parfaite n’est plus une corvée si vous magnétisez le tracé. En effet, cette fonction vous permet de créer des images de qualité, genre faites à la main, en contraignant rapidement un trait de pinceau le long d’une forme ou d’un tracé vectoriel.
  • Amélioration - Aquarelle numérique : Corel Painter IX apporte à l’aquarelle numérique des améliorations notables. Résultat : la peinture reste humide d’une session à l’autre pour le bonheur des artistes qui, plus que jamais, peuvent quasiment manipuler l’aquarelle numérique de la même manière qu’une peinture à l’aquarelle.
  • Nouveauté - Duplication rapide : Idéale pour les photographes et conçue pour transformer des photos en peinture, cette fonction accélère la duplication des images en réduisant à un simple clic les cinq étapes complexes du processus.

Des améliorations sont également à noter du point de vue compatibilité

  • On remarque ainsi une prise en charge améliorée d’Adobe Photoshop : Adobe Photoshop et Corel Painter font bon ménage, c’est-à-dire que les fichiers enregistrés au format PSD s’ouvrent dans Corel Painter, sans altérer ni plans, ni masques de plan ni canaux alpha. De même, il est possible d’ajouter de nouveaux plans au plan sélectionné, de plier les plans aux modes de fusion différents et de masquer ou d’afficher plusieurs plans en les faisant glisser simplement.
  • Prise en charge améliorée également des tablettes graphiques de Wacom : Corel Painter IX accueille la gamme complète des tablettes de Wacom, en particulier Intuos 3, le tout nouveau modèle, dont les bandes sensibles peuvent être configurées pour contrôler la taille du pinceau, le zoom et de nombreuses autres fonctions, sans passer par le clavier.
  • La gestion des couleurs est aussi améliorée : Gérant les profils standard ICC 4.0, Corel Painter IX permet de garantir la correspondance des couleurs tant à l’écran qu’à la sortie.

Voici le contenu du coffret : Corel Painter IX pour Mac et Windows, bibliothèques d’éléments uniques (dégradés, jets, motifs, photos, textures de papier, styles) y compris la nouvelle catégorie de styles Huiles de l’artiste, guide pratique de Corel Painter IX avec des didacticiels montés par des professionnels de l’image et Guide de l’utilisateur (en format PDF).

Corel Painter IX, version anglaise, peut être pré-commandée depuis le site de Corel www.corel.fr et auprès des partenaires Corel. Le prix de détail conseillé est de 379 € pour la version complète, 149 € pour la mise à jour et 84 € pour la version éducation (hors TVA). La version française, italienne et allemande sera disponible début 2005.
Les noms des marques et des produits cités sont protégés - Illustration (c) Corel - Tous droits réservés

September 27, 2004

Contax U4R Digital Camera

Contax U4R - Features
A Carl Zeiss Vario-Tessar T* 5.8-17.4mm f/2.8-f/4.7 Lens
The Contax U4R offers a Carl Zeiss Vario-Tessar T* 5.8-17.4mm f2.8-4.7 lens (equivalent to approx. 38mm to 115mm in 35mm film format) consisting of 6 elements in 6 groups and includes three aspheric and two high index lens elements. This Carl Zeiss Vario-Tessar T* 5.8-17.4mm lens has been developed specifically for digital usage and achieves outstanding color reproduction and rich gradations. In addition, Carl Zeiss’ special multi-layer T* coating dramatically reduces flare and ghosting which results is crisp, ultra sharp images. For greater creative control, 28mm filters can be used via the included filter adapter.
The U4R also incorporates a 3x optical zoom and 6x digital zoom for a maximum of 18x total zoom and includes up to 8x digital zoom in play back mode.
RTUNE’s High Speed Image Processing System Enables High Speed Continuous Shooting At 3.3 Frames Per Second
The Contax U4R provides high speed continuous shooting up to a maximum 3.3 frames per second up to the full capacity of memory card (*1) at the highest resolution, thanks to Kyocera’s RTUNE image processing system. Even during continuous shooting, the LCD monitor displays in real time. The Contax U4R starts up in less than 0.9 seconds and features a shutter lag time of approx. 0.07 seconds (*2), giving the camera the title of being one of the fastest performing cameras available. The performance of the Contax U4R also eliminates the stress that photographers endured in the past caused by waiting for the camera to start up or being able to capture an image at any moment due to long shutter lag time. The U4R is ready when you are to seize the exact moment and capture images at anytime without fail.
*1) When using a high speed SD card formatted by the camera with. The high speed SD cards of which full performance have been confirmed are listed on Kyocera global site (http://www.kyocera.com). Depending on shooting conditions, the memory may not be fully utilized. The speed of continuous shooting or movie shooting depends on shooting conditions, camera settings and memory card conditions.
*2) The time from locking focus via the shutter release button and releasing the shutter to capture the image.
High Resolution 4.0 million effective pixel, 1/2.7 Inch CCD With Improved Image Gradation Thanks to “RTUNE”
Contax U4R uses a CCD with 4,230,000 gross pixels (1/2.7 square pixels, using an original color filter) as an image pickup device. By adjusting RGB color balance of the signals from the CCD at the analog front end, color noise is minimized which is easily created in the A/D conversion. The A/D conversion provides 16-bit internal processing to minimize a lack of data and then outputs as 12-bit data to the next image processor. In doing so, drastically reduces a wide range of noise generated in a captured image and is reproduced with natural colors and a fine array of gradations.
Easy-Framing Body Is Only 19mm (.55 inches) Thin
At only 19mm thin and rounded edge design the U4R can easily fit into a shirt pocket or bag for easy of portability. The covers are made of magnesium and the front panels are covered with genuine leather for superior grip ability and are available in three elegant color variations (black, indigo, and camel). The “Easy-Framing Body” with rotating lens allow you to find a comfortable position to shoot in a variety of photographic situations such as self-portrait, low/high angle and macro mode shooting.
Enhanced Continuous AF Shooting Function Stays Focused Even On Moving Subjects
The Enhanced Continuous AF shooting function that has been incorporated into the Contax U4R, enabling it to lock onto virtually any moving subjects for precise focus. It provides superlative performance under conditions which were previously difficult to capture images, such as children playing or pets whose actions are unpredictable. With Enhanced Continuous AF, the Contax U4R can capture continuous images at up to 2 frames per a second until the memory is filled (*1).
*1) When using a high speed SD card formatted by the camera with. The high speed SD cards of which full performance have been confirmed are listed on Kyocera global site (http://www.kyocera.com). Depending on shooting conditions, the memory may not be fully utilized. The speed of continuous shooting or movie shooting depends on shooting conditions, camera settings and memory card conditions.
Increased Focusing Accuracy With 9-point Multi AF Function
For increased focusing accuracy and convenience of use, the Contax U4R incorporates a 9-point Multi AF function. The 9-point Multi AF Function is the perfect solution especially with subjects that are not centrally located in the composition. With the 9-point Multi AF system, the U4R automatically selects focus via one of the nine focusing points for precise focusing accuracy. This ensures increased focusing accuracy. Digital photographers who would like to control the focusing point, the U4R also includes Spot AF for user control.
Easy View 2-inch LCD Monitor With Continuous Zoom Playback And Group Mode
The large, Easy View 2-inch LCD monitor makes it simple to compose an image which is one of the most important elements of digital photography. In addition, the large two inch LCD is also perfect for viewing captured images, movies and it also makes it extremely easy to navigate the menu selections. Images that are captured RTUNE’s Continuous Shooting mode can be viewed in a big way. After capturing a series of images in continuous mode, the photographer can zoom in on one of their continuous shots in playback mode and then scroll through the rest of the images captured in the series at the same magnification. This is extremely important when checking for that perfect image. In addition when multiple continuous captured image series wish to be viewed, the i4R makes it easier. In group mode, the first image of each group is shown for easy selection of a continuously captured series. This is extremely helpful when viewing two or more continuously captured image series.
Easy Charger USB Cradle
With the Easy Charge USB Cradle, the user no longer needs to be concerned about plugging an ac adapter into the camera each time the battery needs to be charged or a USB cable to transfer images. With the Easy Charge USB Cradle user hooks it up once to an ac outlet and to a personal computer via the supplied USB cable. Once the Easy Charge USB Cradle is connected to an outlet and computer, whenever the camera needs to be charged, it is just placed in the cradle for charging. When captured images need to be transferred from the camera, the camera is just placed in the Easy Charge USB Cradle for convenient transfer of images.
Superfine, VGA Movies With Audio
Movies with audio (30 frames per second) can be shot up to the maximum capacity of the memory card with easy operation (*4). The recorded file is in AVI format and you can easily played back and seen in superfine movies without image dropouts at 30 frames per second on the U4R’s two inch liquid crystal monitor or a personal computer. (To play back your movies on a personal computer, it is necessary to install QuickTime 4.1 or later.)
*4) High speed continuous shooting up to the full memory capacity is possible when using a high speed SD card formatted by the camera with. The high speed SD cards of which full performance have been confirmed are listed on Kyocera global site (http://www.kyocera.com). Depending on shooting conditions, the memory may not be fully utilized. The speed of continuous shooting depends on shooting conditions, camera settings and memory card conditions.
Eight Scene Modes For Any Situation
The Contax U4R offers 8 predefined scene modes that enable the camera to make the most just about any photographic setting according to the situation. The 8 modes scene modes include, Sport Action, Portrait, Night Portrait, Sunset, Twilight, Night View, Black and White and Sepia. For example, in Sport mode and Continuous AF, the decisive moment like a goal in an athletic meet can be captured.
Customizable Single and Multi Image Startup Screen
The Contax U4R incorporates a user, customizable startup screen that allows them to select a favorite image that has been captured as their startup screen whenever the camera is powered on. In addition, the Contax U4R includes a Multi Startup Screen feature. With the Multi Startup Screen, 10 separate images or continuous captured images can appear as a movie within the approximately one second camera startup time.
In Camera Image Resize Mode
With the Contax U4R is easy to resize an image to 320 x 240 pixels or 160 x 120 pixels after it has been taken, and save it so that it can be use with a PDA or sent via e-mail. You can also crop the area to be resized from the whole image, quarter or one-sixteenth.
Pictbridge Compatible, The Industry Standard For Printing Images
The Contax U4R supports PictBridge technology, the industry standard for printing digital images. By directly connecting the U4R via its USB cable to a PictBridge printer that supports the PictBridge, images can be printed directly from the printer without the use of a personal computer. You can also make changes in settings for the prints as well, such as the number of images to be printed.
Hi-Speed USB 2.0
The Contax U4R meets High-Speed USB 2.0 standard by allowing large amounts of image data to be transferred to a personal computer. Due to the advent of high resolution still images and movies and large capacity memory cards, the demand of speed data is essential. Adopting Hi-Speed USB 2.0 standard with a maximum transfer speed of 480Mb/s, one can handle large image files on a personal computer as comfortably as an external hard disc drive. Of course, personal computer using USB1.1 standard also can be used (the transfer speed is limited by USB specification of the personal computer). The installation of a USB driver is not needed, except Windows98 and 98SE.
Using CONTAX U4R with a personal computer
Windows requirements:OS: Preinstalled with Microsoft Windows 98, Windows 98 SE, Windows Me, Windows 2000 Professional, Windows XP Home Edition or Professional. Performance is not guaranteed if these operating systems are upgraded. System requirements, 64MB memory or more, USB terminal and CD-ROM drive. For Microsoft Windows 98 and Windows 98 SE, a USB driver is needed. The USB driver is included on the CD-ROM that comes with the camera.
Macintosh requirements:OS: Preinstalled with Mac OS 9.0 to 9.2 or OS X v.10.3 (excluding the OS X server). Performance is not guaranteed if these operating systems are upgraded. Equipment should have a built-in USB terminal and CD-ROM drive.
Windows is a registered trademark of Microsoft Corporation in the United States and other countries.QuickTime, Macintosh and Mac OS are registered trademarks of Apple Computer, Inc. in the United States. Other company names and product names are trademarks or registered trademarks of their respective companies.
Photos (c) Kyocera - All rights reserved

September 15, 2004

Nikon F6 35mm professional SLR

Nikon introduce the F6™ 35mm professional SLR - a flagship film camera that seamlessly blends cutting-edge new technologies and uncompromising craftsmanship to offer film enthusiasts the finest shooting experience an SLR camera can offer.
The F6 benefits from the aggressive advancements in camera technology Nikon has made in response to an explosive demand for high-end digital cameras. It embodies Nikon's latest technological advancements, such as the Multi-CAM200 11-area AF system for exceptionally high-speed autofocus operation with outstanding accuracy, and the i-TTL Creative Lighting System for incomparable flash photography. The F6 features a newly refined proprietary 3D Color Matrix Metering system for improved accuracy in scene recognition and exposure. The camera also operates at highly subdued noise levels to ensure the ultimate shooting experience. For film shooters, the F6 undoubtedly represents the epitome of 35mm SLR photography and cutting edge performance.
"While many professional photographers have rapidly adopted digital photography in their workflow, there are several who enjoy the choice of using 35m film, depending on the situation or circumstance they are photographing in. Nikon recognizes this, and with the F6 and the newly announced D2X digital SLR camera, we are offering photographers the best cameras in both categories, for a seamless experience in performance, features and usability," said Jerry Grossman, vice president of Marketing, Nikon Inc.
The F6 is the sixth model in a legendary series of F-series professional film SLR cameras from Nikon. First introduced with the Nikon F in 1959, the series has transcended newer challenges over the years with successive new models. The original Nikon F was succeeded by the F2 (1971), F3 (1980), F4 (1988) and the critically acclaimed F5 in 1996. Each of these cameras inherited select elements from its predecessors, including the legendary Nikon F mount and a consistent design philosophy to offer professionals tools of the highest caliber and performance. Each successive model also raised the bar for innovation and technological advancement to meet the increasingly diversified needs of professional photographers. Today, tens of thousands of Nikon F-series SLR cameras and Nikkor lenses are put to test daily around the world, helping photographers make great pictures. The new Nikon F6 promises to uphold Nikon's tradition of innovation and enduring value.
F6 offers New Features for Film Fanatics
The Nikon F6 35mm film SLR camera earns its right to become the next flagship Nikon F-Series professional camera by incorporating remarkable new technologies and design enhancements that give photographers who prefer film the highest level of performance in an SLR camera. In addition to incorporating Nikon's new Multi-CAM2000 11-area AF system and powerful i-TTL Creative Lighting System, the F6 also incorporates several fine refinements in design and construction. It features an improved Nikon 3D Color Matrix Metering system for greater accuracy in scene recognition and exposure, as well as a new shutter unit crafted from DuPont™ KEVLAR® and a special aluminum alloy for unparalleled reliability, lighting-quick movement and precision. Nikon engineers have successfully subdued the camera's operational sounds by using a professional echoic chamber to measure sound and vibration meticulously and then craft the camera with parts that have been highly refined for absolute minimum vibration, and frequency of movement attenuated to a level below that detectable by the human ear. Constructed on an aluminum-alloy die-cast chassis with magnesium-alloy front body and covers (top, bottom) and strategically placed rubber surfaces, the F6 is built like a tank, and has undergone several reliability and rigidity tests to ensure flawless performance. A self-diagnostic shutter incorporated in the camera has undergone testing to assure accurate release up to and beyond 150,000 cycles, even in the most extreme environmental conditions. The F6 undoubtedly goes beyond Nikon's uncompromising standards of quality, durability and rigidity that photographers around the world expect and trust.
The F6 also features a variety of exciting, innovative control options such as a customizable function button, built-in data back functions, shooting data memory and compatibility with a new Multi Power Battery Pack MB-40. This new power pack boosts the camera"s framing rate from a native 5.5 frames per second to a full 8 frames per second, allowing Nikon engineers to reduce the size of the F6 significantly from its predecessor, the F5. With the convenience and versatility afforded by 41 Custom Settings, photographers can also fine-tune the F6 to suit their individual shooting preferences and requirements.
The new flagship film SLR also boasts a number of dedicated accessories. These include the Multi Power Battery Pack MB-40, interchangeable focusing screens (seven types), Data Reader MV-1 and camera cases. The Nikon F6 is scheduled to be available at Nikon authorized dealers in October 2004.
Nikon F6 Feature Highlights
High-precision shutter unit
No shutter unit in any other camera comes close to matching the precision and durability of the F6's assembly. Created from cutting-edge materials - DuPontTM KEVLAR® and a special aluminum alloy - the blades of the shutter unit offer unparalleled reliability and are extremely lightweight, for lightning-quick movement. For enhanced accuracy, the movement of the blades was carefully analyzed during the design process using a high-speed video camera and computer simulations, enabling unprecedented precision even at shutter speeds of up to 1/8,000 second. DuPontTM and KEVLAR® are trademarks and registered trademarks of DuPont or its affiliates.
Minimized operational sound and vibration
Nikon engineers were so intent on subduing the camera's operational sounds that they used a professional audio room to properly gauge the sound quality and frequency. The degree of vibration to which every part of the camera would be subjected was measured. This meticulous approach has resulted in a camera comprised of parts that have been highly refined for absolute minimum vibration, and frequency of movement attenuated to a level below that detectable by the human ear.
Highly efficient mechanics
The development of the F6 marks the first time 3D computer movement analysis has ever been applied to an SLR. This technique reveals the degree of power distributed to or generated by particular parts in specific directions. This made it possible for Nikon to optimize the mechanical operation of the camera with fewer parts, leading to lower power consumption and higher durability
Harsh environmental testing
To ensure the camera could withstand the most severe conditions and environments, the F6 has been subjected to rigorous testing. The F6's astonishing reliability is a function of Nikon's "the right material for the right place" approach. Nikon engineers considered countless situations for camera use, then submitted the F6 to real-life testing to virtually guarantee exceptional dependability wherever and whenever photographers shoot.
For more information visit www.nikonusa.com, which links all levels of photographers to the web's most comprehensive photo learning and sharing communities
(c) Image Source : Nikon, Inc. - Nikon US Press Release - 16.09.2004

September 11, 2004

Christoph Wedding, Malerei at Galerie Jean-Luc et Takado Richard in Paris

 

First exhibition of  the work of  the young German painter CHRISTOPH WEDDING, born in 1967, at Galerie Jean-Luc & Takako Richard in Paris.

Christoph Wedding’s pictures are painted directly on supports made of medium with rectangular shapes and rounded corners and hollows. Multiple coats in thin, translucent layers are painted over one another like a series of veils of different colours. In this way the artist manages to create an illusion of infinite depth. 

Most of his paintings combine curves and straight  lines with sharp shapes  in forceful  compositions. The “veils”, like the elliptical lines, are painted in a single stroke of a wide brush, allowing no correction. The artist uses straight lines as often as curves in his compositions. Curves meeting straight lines produce the sharp edges. The dynamics of the lines and transparency of the paint bring to mind the architectural sculptures of Antoine Pevsner and Naum Gabo. Straight lines are all either vertical or horizontal, this geometrical structuring being counterbalanced by the potentially more organic and chaotic play of fluid curves. This relationship between hardness and sensuality in uncompromising coexistence is quite disturbing to the viewer. 

Christoph Wedding combines two different aesthetic and philosophical approaches in the same picture – one marked by rigour, order and a search for finality, the other more organic, pantheistic and anarchic. Between these two extremes, Christoph Wedding’s paintings achieve a state of precarious balance and tense coexistence.

In 2003  Christoph Wedding was one of the artists shown in the New Abstract Painting exhibition at  the Morsbroich Museum  in Leverkusen, and has had a one man  show at the Kunstverein, Heilbronn. Galerie Aurel Scheibler presented a Christoph Wedding one man show in FIAC 2003.

 
CHRISTOPH WEDDING, Malerei 
11 September – 19 October 2004

Galerie Jean-Luc & Takako Richard
51-53, rue Saint-Louis en l’Ile  
75004 PARIS

September 2, 2004

French Photojournalists join Associated Press

The international photojournalist collective VII and the world's largest news cooperative, The Associated Press, have agreed on a distribution deal
Under the arrangement, AP clients, including member newspapers and communications professionals, gain access to VII's extensive archive and to an exclusive weekly topical picture story package that will be made available via the AP PhotoArchive and AP Wide World Photos.
VII, based in Paris, is an independent group of nine photojournalists, founded in 2001. Founding members Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Christopher Morris, James Nachtwey and John Stanmeyer were joined in 2002 by Lauren Greenfield and in 2004 by Joachim Ladefoged. VII's central purpose is to maximize the distribution of its output through all appropriate channels, and by this means to fund the production of innovative and diverse work.
"This agreement with AP extends the work of VII to a new editorial market," said Gary Knight of the VII photo agency. The exclusive weekly topical picture story package will be drawn from VII's archive and its more recent production, he said.
The announcement was made at Visa pour l'image, the International Festival of Photojournalism in Perpignan, France.
"The addition of VII's catalogue of in-depth feature and documentary photography adds a new dimension to the material available to AP's clients," said Andrew Hill, director of sales for AP Wide World.
VII derives its name from the number of founding photojournalists who, in September 2001, formed this collectively owned agency. Designed from the outset to be an efficient, technologically enabled distribution hub for some of the world's finest photojournalism, VII has been responsible for creating and relaying to the world many of the images that define the turbulent opening years of the 21st century. Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Christopher Morris, James Nachtwey, John Stanmeyer, Lauren Greenfield and Joachim Ladefoged document conflict -- environmental, social and political, both violent and non-violent -- to produce an unflinching record of the injustices created and experienced by people caught up in the events they describe.
www.apimages.com