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

March 30, 2004

Epson RD1

Brève note pour ceux qui souhaiteraient se le procurer d'occasion
Le RD1 est sortie en 2004.
Capteur de 6,1 Mégapixels - Visée télémétrique

Objectif : Interchangeable, accepte les objectifs argentiques de la série M
Fichiers RAW/JPEG
Exposition : 1/2000 à 1 seconde.
Sensibilité : 200, 400 et 800 ISO.
Mémoire : SD card
Batterie Li-ion rechargeable
Prix : 3000 € à sa sortie
appareil est le fruit d'une coopération entre Epson et Epson and Cosina/Voigtlander
Message connexe : Epson RD1S

Mise à jour : 10.2008

March 22, 2004

Leaf Valeo 22Wi and Leaf Valeo 17Wi Go Wireless

The fastest digital camera back system — the Leaf™ Valeo — is now wireless. This next generation Leaf Valeo is being introduced with an innovative wireless display on two models: the Leaf Valeo22Wi and the new Leaf Valeo 17Wi, with resolutions of 22 and 17 million pixels respectively. Both camerabacks feature an unmatched fast capture rate, optimized 3:4 format ratio CCD, Portable Power technology,and In-Studio Large Format Power.
The new Leaf Valeo Wi family uses built-in Bluetooth® wireless technology to accomplish two-way communication between the camera and the Leaf DP-67, a 6 x 7 cm (3.9 inch) image display and control unit, based on the HP iPAQ pocket PC. By using the Leaf DP-67 image display and control unit, users can zoom-inon high resolution images that display instantly, verify focus, set camera parameters or even manage files andfolders from a distance of up to 10 meters (33 feet). The DP-67 acts as both a “digital proof” and a “personal photographic assistant”.
The Leaf Valeo Wi family is the fastest digital back system in the market at 1.2 sec/frame with its unique DSR (Dual Sensor Readout) technology (patent pending). DSR technology achieves record capture rate by utilizingthe CCD two-channel simultaneous readout. Both the 17 mega pixel and the 22 mega pixel CCDs present an optimized 3:4 format for a classic photographic ratio that’s efficient and minimizes cropping.
Leaf’s Large Format Power turns existing large format analog cameras into digital systems, allowing users to control aperture and shutter speed from their computer. The electronic lens control allows speeds up to 1/500 sec in 1/10 f-stop intervals producing accurate and consistent shutter performance. A Live Video View feature enables easy and accurate composition by superimposing a designer layout over the live image as well as on sensor absolute focusing.
The 16-bit A/D (analog to digital) converter assures the widest tonal range for rich and smooth tonal transitions. An advanced scaling algorithm enables a smooth film-like look in high-scale enlargements for files over 300 MB.

March 5, 2004

Acquisition of Ed Ruscha Photographs by the Whitney Museum

Adam D. Weinberg, Alice Pratt Brown Director, today announced that the Whitney Museum of American Art has acquired a major body of original photographic works from American artist Ed Ruscha through the generosity of The Leonard and Evelyn Lauder Foundation, with additional support from Tom and Diane Tuft, and through a significant gift of unique early works from the artist. This acquisition of 456 objects makes the Whitney the principal repository of Ruscha’s photographic works and an essential resource for the study and appreciation of the art of Ruscha, a key figure in American Conceptual art and a significant influence on international artists in all media for over forty years.
Sylvia Wolf, Sondra Gilman Curator of Photography, who initiated the acquisition, remarked, “Ed Ruscha’s books are among the most original achievements in the art of the 1960s and 1970s, and are the photographic works he is most known for. There have, however, been pictures tucked away in boxes in his studio and photographs that are unpublished or rarely seen, which shed light on Ruscha’s career as a wholeItalique.”
The Acquisition - The Whitney acquisition of 456 objects represents all facets of Ruscha’s photographic work. Mr. Weinberg remarked, “In the scope and rarity of the material, this acquisition is unparalleled. It exemplifies the Whitney’s goal to acquire defining works by contemporary American artists.” Included are original prints from his photographic books Twentysix Gasoline Stations (1963); Various Small Fires and Milk (1964); Some Los Angeles Apartments (1965); Thirty-Four Parking Lots in Los Angeles (1967); Royal Road Test (1967); Babycakes with Weights (1970) and Real Estate Opportunities (1970). Also in this acquisition are several photographs Ruscha never published, in particular 16 images from Twentysix Gasoline Stations (1963) that were not included in the book.
In addition, the acquisition contains over 300 unique vintage photographs from a seven-month tour of Europe in 1961. Photographs from Austria, England, France, Greece, Italy, Spain, and Yugoslavia feature many motifs and stylistic elements that have marked Ruscha’s work over the past 40 years, in particular his interest in typography and signage, and his strong graphic sensibility. They also show him experimenting with the camera. Ms. Wolf observes, “The lack of self-consciousness and intense curiosity reflected in these early photographs makes them both refreshing and revelatory of a fertile time in a young artist’s career. Ruscha’s use of photography would later develop into a systematic inquiry with clarity of purpose, but during his months in Europe his pictures suggest spontaneity, playfulness, and a pure delight in seeing.”
The Whitney is planning a publication of works from this acquisition and an exhibition to open on June 24, 2004, concurrent with a landmark exhibition of Ruscha’s drawings that is being organized by the Whitney. The acquisition is a partial purchase from and partial donation by the artist.
Ed Ruscha - Born in 1937 in Omaha, Nebraska, and raised in Oklahoma City, Ruscha moved to Los Angeles when he was 18. He attended the Chouinard Art Institute until 1960, before working briefly in commercial advertising. In 1961, Ruscha embarked on a career as an artist and produced enigmatic paintings, drawings, and photographic books of gasoline stations, apartment buildings, palm trees, vacant lots, and Los Angeles’s famous “Hollywood” sign. His works were often drawn from photographs of mundane subjects shot from a distance. The irony and objective stance of his works from this period placed him in the context of Pop art and Conceptualism, but Ruscha consistently defies categorization. Now 66, Ruscha is recognized as one of our most important and influential contemporary American artists.
Ruscha’s photographic books of the 1960s and 1970s have come to embody the Conceptualists’s embrace of serial imaging and photographic documentation. The books have also had an impact on the art and careers of many American artists, including Lewis Baltz, Dan Graham, and Robert Venturi. German photographers Bernd and Hilla Becher enthusiastically presented Ruscha’s work to their students, including Thomas Struth and Andreas Gursky, whose own work incorporates a similar dry documentary aesthetic. And Canadian artist Jeff Wall has called Ruscha the “American Everyman.” Ruscha, in turn, identifies photographers Walker Evans and Robert Frank as influential to his art.
Whitney Holdings and Exhibitions - The Whitney first exhibited Ed Ruscha’s work in the 1967 Annual Exhibition of Contemporary Painting. It has since collected his art and exhibited it in several group exhibitions. In 1982, the Whitney was the New York venue for an SFMoMA retrospective. Among the Whitney’s holdings are two master paintings, Large Trademark with Eight Spotlights (1962) and Hollywood to Pico (1998), two portfolios of prints, eight individual prints, and three drawings. This initiative extends a vigorous program of acquisitions in contemporary photography that began with the formation of the Photography Collection Committee in 1991.