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


October 31, 2006

Site de production Ilford à Marly en Suisse

L'unité de production Ilford Imaging Switzerland GmbH et la division Digital Imaging and Colour Photo monde ont été rachetées en 2005 par la société japonaise OJI Paper. Ilford opère désormais comme une seule et unique filiale de OJI Communications Paper Division.

La division Photo Noir & Blanc d’Ilford, dont les usines sont basées au Royaume-Uni, a été acquise par Harman Technology Limited qui est autorisée à commercialiser les produits argentiques traditionnels Noir et Blanc sous la marque Ilford Photo.

Le site de production basé à Marly, en Suisse fabrique plus de 100 types de supports différents pour photo imprimée en jet d’encre et autres supports photo couleurs destinés aux professionnels. Marly est par ailleurs, le site de fabrication de la très réputée gamme de papiers Galerie par Ilford. Avec plus de 400 employés, le site produit suffisamment de papier couché par an pour envelopper la planète ! Grâce au soutien d’Oji, Ilford a pu développer son pôle de compétences technologiques et moderniser les processus de couchage du papier.

Ceci a ainsi permis d’augmenter la capacité de production et de rationaliser les opérations de transformation et de conditionnement. Ilford a, par ailleurs, investi dans de nombreux projets stratégiques de Recherche-Développement, dans le but de combiner les forces, les connaissances du marché et le savoir d’Oji et d’Ilford. Ilford peut à ce jour fournir sur le marché une solution à la pointe de la technologie maîtrisée de A à Z : de la plantation d’arbres et production de pâte à papier au Japon, aux méthodes de couchage du papier et aux processus de finalisation qui s’effectuent en Suisse.

« Je suis ravi de constater qu’Ilford prospère depuis son rachat par Oji en 2005 », déclare Dai Jones, le directeur général d’Ilford. Il conclut « cela démontre bien à quel point le nom Ilford est implanté sur le marché de l’image et constitue une référence. Ilford a choisi de répondre aux attentes des consommateurs et grâce au soutien d’Oji, la société continuera à légitimer sa position en répondant à la demande d’aujourd’hui et de demain ».

La volonté d’Ilford d’améliorer en permanence la qualité de ses produits constituait l’une des raisons majeures pour lesquelles nous avons racheté l’ensemble de la société Ilford Imaging Switzerland GmbH en 2005”, précise Kimiyoshi Uranishi, le PDG d’Ilford Imaging Switzerland GmbH, avant de poursuivre “Nous investissons massivement dans les locaux de l’usine de fabrication basée en Suisse car nous croyons fermement au développement et à l’explosion des produits couleurs et jet d’encre ». Il ajoute « Cette alliance stratégique nous permettra de nous positionner sur le marché mondial comme le premier fabricant de supports photographiques de qualité, ce qui assurera un futur prometteur à Ilford ».

Pour plus d’informations, consultez le site www.ilford.com

October 29, 2006

SF Camerawork Photo exhibits space – San Francisco, California

 

Founded in 1974, SF Camerawork has historically been an artist-driven organization focused on supporting emerging and mid-career photographers. Its mission is to push the boundaries of what constitutes photography and image-making while serving as a launching pad for careers in the photographic arts. While SF Camerawork has been offering exhibitions and programming for the past five years in a gallery space it formerly shared with New Langton Arts at 1246 Folsom Street, the decision to relocate began in 2001 after leaving their previous long-term site at 115 Natoma. SF Camerawork’s 6,500-square-foot new location on Mission at Third Street, designed by Donna Schumacher of X: architecture/Art and with lighting design by Rebecca Foster, features a new 3,000-square foot gallery space, which can be divided into several separate gallery areas depending on the exhibition schedule, nearly doubling SF Camerawork’s previous exhibition and programming spaces.

SF Camerawork 
657 Mission Street, 2nd Floor
San Francisco, CA 94105

For more information, visit www.sfcamerwork.org

October 23, 2006

In The Ring with Colin Jacobson

 

HOST Gallery, London

 

An exciting series of photographic encounters

 

HOST gallery announces that renowned picture editor, teacher and photojournalism specialist Colin Jacobson will be the resident host of their new season of gallery talks in London.

The series of talks begins at 6:30pm on Wednesday 8th November with Colin sparring with acclaimed photographer and journalist Nick Danziger. Danziger will be in London to open his new photography exhibition, Behind the Headlines: Afghan Lives, which runs from 7th November - 18th November.

In addition to hosting discussions related to the current exhibitions at HOST, Colin Jacobson will be inviting the best known and most engaging personalities in news, photography and new media to enter the ring with him as he jabs away at the common myths surrounding photo reportage, getting to the heart of the issues behind images and journalism in the digital age.

 

Future guests will include Dutch photographer, KADIR VAN LOHUIZEN, on the occasion of his exhibition about the diamond trade, and British photographer, TIM HETHERINGTON, who will be discussing his unique approach to documentary journalism using still images, film and electronic media. An exciting new development will be the ability for members of the public to nominate the subjects and individuals they wish to see Colin tackle via an interactive voting system on the HOST gallery website. (hostgallery.co.uk)

 

Gallery co-director, JON LEVY, says, “I am both proud and excited that Colin has agreed to be our ‘Master of the Ring’ for HOST gallery talks and discussions going into the next year, he is after all the undisputed heavyweight champion of photojournalism.”

Colin Jacobson says, ”I am looking forward to the sessions being stimulating and provocative, raising important and relevant issues around contemporary photojournalim and its future. The sparring will be a good work-out for my guests and for the audience.”

 

COLIN JACOBSON is one of the world’s most respected picture editors having worked at the Independent magazine during its heyday and the Observer magazine. Colin Jacobson has sat as chairman of World Press Photo and founded Reportage magazine in the 1990s. Jacobson is currently course leader of the Photojournalism MA at the University of Westminster and a member of the World Press Photo UK Committee.

 

NICK DANZIGER is an award winning photographer, writer and film-maker. Nick Danziger has worked in Afghanistan for over twenty years and his latest commission for the Department for International Development gets to the heart of a country often in the news but little known beneath the surface.

 

HOST Gallery, established in 2005, is London’s premiere venue for exhibiting photojournalism. Co-founded by Jon Levy, director of foto8, and Adrian Evans, director of Panos Pictures, HOST pushes the boundaries of story telling.

 

HOST GALLERY

1 Honduras Street
London
EC1Y 0TH

October 19, 2006

Alain, Art, Esthétique et Perception. Un livre d’Ollivier Pourriol, Alain, le grand voleur

Un livre d’ Ollivier Pourriol, Alain, le grand voleur

Ollivier Pourriol, Alain, le grand voleur, Le Livre de Poche, 2006

© Le Livre de Poche, 2006 / avec autorisation

ALAIN, LE GRAND VOLEUR par OLLIVIER POURRIOL
Le Livre de Poche, Collection « Biblio Essais »
Date de parution : Septembre 2006
EAN / ISBN : 9782253083801
224 pages - 6,00 €

En avril 2006, le roman d'Ollivier Pourriol, Le Peintre au couteau, sortait en format de poche. En septembre 2006, Le Livre de Poche a publié un autre livre, inédit, du même auteur, où il est également question d'art (en partie). Il ne s'agit plus, comme le précédent livre, d'un roman mais d'un essai qui trouve sa source dans une réflexion d'Ollivier Pourriol sur trois textes du philosophe Alain.

L'esprit, disait Alain, est un « grand voleur ». Il ajoutait que les grands esprits, vraiment grands, n'ont pas d'idées à eux. Ils sont pour ainsi dire immédiatement universels. Aussi la juste méthode pour penser consiste-t-elle à leur emprunter leurs idées, comme on emprunte des outils, et à se les approprier. C'est ce que l'auteur a fait et invite le lecteur à faire, en le guidant dans cet appropriation d'une pensée philosophique. Une appropriation qui peut n'être que partielle car n'excluant pas, bien sûr, l'exercice par le lecteur se son propre jugement.

Ce livre comporte trois parties dont une, « Art et perception », est consacrée à l'esthétique dont traite Alain dans son Système des Beaux-Arts. Cette partie du livre intéressera ceux qui aiment (aussi) aborder l'art autrement ; ici au travers d'un auteur classique de la philosophie. Et au travers d'une présentation d'un texte philosophique d'Alain qui le rend abordable à un plus grand nombre. Sans doute, certains lecteurs auront ensuite le désir d'aller lire le texte d'Alain lui-même. Par cet essai, Ollivier Pourriol y invite son lecteur.

Les deux autres parties de l'essai sont également très intéressante : « La force de l'opinion » traite de politique  à partir des Propos sur les pouvoirs d'Alain, et « La recherche de l'entendement », qui traite de la connaissance à partir des Entretiens au bord de la mer du philosophe.

Cet essai n'est pas une hagiographie d'Alain. Ce que souhaite l'auteur, c'est introduire à la philosophie d'Alain en sa compagnie en mettant à disposition du lecteur des outils et des méthodes qu'Alain a pratiqués, qu'il les ait empruntés ou mis au point.

Ollivier Pourriol est, à la fois, romancier et philosophe. Son premier roman, Méphisto valse - ainsi que les suivants, Le peintre au couteau et Polaroïd - rencontrent un bon accueil de la critique, du public et... des cinéastes. Mais c'est en tant qu'ancien normalien et agrégé de philosophie qu'il a rassemblé les cours de son maître , Hubert Grenier, dans un autre livre intitulé La liberté heureuse. Hubert Grenier, d'ailleurs, était un « maître à penser » de la famille d'Alain. D'où la cohérence du parcours d'un auteur qui n'oublie jamais de reconnaître ses dettes intellectuelles.

(Parmi les) Messages connexes de Wanafoto :

Jean-Jacques Rousseau, Discours sur les sciences et les arts (texte philosophique)
Ollivier Pourriol, Le Peintre au couteau (roman)

October 15, 2006

Painting Software ArtRage 2.2 Released

Ambient Design Ltd today announced the release of a new version of ArtRage, their award-winning natural painting software.
ArtRage 2.2 is available for Windows XP/2K users, and a Universal Binary is available for Mac OSX users for both Intel and PowerPC. ArtRage 2.2 has been released in English, French, and German language versions. ArtRage 2.2 adds significant new features which will appeal to high-end artists as well as hobbyist and inexperienced artists. Here are some of the most important changes:
  • Mac OS X Universal Binary: ArtRage 2.2 OS X is now a Universal binary for PPC and Intel Macs. It will run on OS X version 10.3.9 or higher.
  • Improved Memory Management: Memory use has been improved so that large documents with multiple layers use significantly less memory than in version 2.11.
  • Photoshop Layer Blend Modes: ArtRage 2.2 supports all of the blend modes in Photoshop CS2. You can access these from the Layer Blending menu in the Layers Panel. Blend modes are imported and exported with PSD format documents.
  • ArtRage Auto Updater: The ArtRage Auto Updater included in version 2.2 allows quick and easy updates when a new version is released.
  • Oil Thinners: The Oil tool now allows you to thin your oils significantly. Everything over 50% thinners starts to make the paint transparent to allow painting of oil glazes or gels.
  • Metallic Value Control: You can now adjust the level of metallic color applied to your paint to give partially reflective or pearlescent paints.
  • Glitter improvements: Glitter has other shapes available for different texturing effects. Also glitter now chooses color from tracing images for each glitter particle individually so detailed textured paintings can rapidly be created.
  • Reference Image Zoom: You can now zoom and pan the contents of reference images without changing the size of the reference pinned to the canvas to focus on detail on one particular are of the reference. With multiple reference images pinned to the canvas, you can mix detail with overviews.
  • PTG File Thumbnails: Your painting files are now given thumbnails in your OS. On Windows, a Shell extension gives thumbnails of ArtRage paintings inside Windows Explorer when the view mode is ‘Thumbnails’. On MacOSX a custom icon displays the painting contents in the file browsers.
  • Many other features, updates and bug-fixes!

October 14, 2006

Collaborations. Nudes from Half a Century by Gerald H. Robinson

Photo (c) Gerald H. Robinson - All rights reserved

A collection of nudes in many kinds of light, and in a variety of styles, made in the course of a long career in photography.
  • Publish Date: October 13, 2006
  • Dimensions: Standard Portrait - 41 pgs
  • Softcover: $32.95
  • Hardcover, Dust Jacket: $45.95
  • Category: Arts & Photography

Tags: Art, Nudes, Photography

Related post

A Life in Camera Work. Photographs from Five Decades by Gerald H. Robinson

October 12, 2006

Ambitious New Yorkers photos by Look Magazine at Museum of the City of New York

Willing To Be Lucky

Ambitious New Yorkers in the Pages of LOOK Magazine

Museum of the City of New York
Curators: Donald Albrecht - Thomas Mellins

October 21, 2006 - January 3, 2007

An exhibition of some 130 photographs portraying dreamers, achievers, self-promoters, and other climbers for whom New York City proved to be transformative will be on view at the Museum of the City of New York. Willing To Be Lucky: Ambitious New Yorkers in the Pages of LOOK Magazine will document many of the city’s celebrated personalities—actor Zero Mostel, Stork Club impresario Sherman Billingsley, and socialite Gloria Vanderbilt in wedding preparations, among many others. It will also celebrate the anonymous strivers in LOOK who contributed to the city’s vibrancy although they never achieved fame. The exhibition takes its title from an essay by E.B. White, “Here Is New York,” first published in The New Yorker in 1949. “No one should come to New York to live,” White asserted “unless he is willing to be lucky.”

Susan Henshaw Jones, President and Director of the Museum, commented: “New York is a city of archetypes; in White’s words:  ‘the gladiator, the evangelist, the promoter, the actor, the trader, and the merchant.’ The LOOK images are engaging because the subjects are colorful and often humorous, but they are compelling because we identify with the hunger for recognition.”

New Yorkers are united by ambition. Dreamers, many of whom could only be happy in New York, have used the city as a stage from which to project their careers. During the middle decades of the 20th century, many such characters were photographed by LOOK staff photographers, and their stories were revealed in the pages of this widely read and influential magazine, which was largely pictorial. Collaborating with LOOK’s editors, art directors, and photographers, these hopefuls strutted, cavorted, and preened their way across the magazine’s pages. They projected their identities through carefully orchestrated poses, clothing, objects, and settings. Those already famous perfected their personae while others struggled for attention by performing off-beat jobs. These figures included, among many others, a flame eater who performed at the Waldorf-Astoria; a statuesque woman posing above the corner of Fifth Avenue and 42nd Street for a monumental billboard advertising Peter Pan bras; competing ballroom dancers; Rosemary Williams, a young woman captured by Stanley Kubrick in stills as she transformed herself into a showgirl. As portrayed in LOOK, New York was a city of winners, yet some of the photographs reveal the darker side of ambition and the cost of failure.

The LOOK Magazine photographs, donated by Cowles Magazines beginning in the 1950s, are a pillar of the Museum’s permanent collection. Totaling more than 200,000 negatives, contact sheets, and prints, the collection is an extraordinary record of New York and New Yorkers between 1938 and 1961, documenting not only the ever-changing city, but also projecting its image nationally during these tumultuous years. Willing to Be Lucky features the work of many LOOK staff photographers, none perhaps more notable than the teenage Stanley Kubrick, who would later become a film director of international renown. His visually and psychologically sophisticated photographs of aspiring showgirls and boxers form the centerpiece of the exhibition. White’s premise is evoked poignantly in Kubrick’s series of photographs portraying a day in the life of Rocky Graziano, boxing’s struggling middleweight champion in the late 1940s; Graziano later turned to show business, finding fame in his amusing use of the English language.  Kubrick’s photographs of another boxer, Walter Cartier (dubbed the Prizefighter of Greenwich Village) are also on view in the exhibition; not incidentally, Cartier was the subject of Kubrick’s first film.

Willing to Be Lucky: Ambitious New Yorkers in the Pages of LOOK Magazine has been supported by the Marlene Nathan Meyerson Family Foundation.

The exhibition is organized by Museum of the City of New York curators Donald Albrecht and Thomas Mellins.  The exhibition is designed by Pure+Applied.

October 10, 2006

Francis Bacon, Milwaukee Art Museum

Francis Bacon in the 1950s  
Milwaukee Art Museum
January 27-April 15, 2007

During the 1950s, painter Francis Bacon began to formulate the iconography of his dark and troubled world in paint. The exhibition, Francis Bacon in the 1950s , opening at the Milwaukee Art Museum, January 27-April 15, 2007, features nearly fifty paintings from the period in which Bacon was at the height of his creative powers. In this intensely fertile time, many of Bacon’s themes-screaming popes, howling dogs, and haunting figures trapped in tortured isolation-began to materialize as the man himself was becoming one of the most significant artists of the twentieth century.

Francis Bacon in the 1950s takes a profoundly personal look at this fascinating period in Bacon’s career and is the first exhibition to examine Bacon’s formative works. Curated by Michael Peppiatt, a close friend of Bacon’s, the exhibition provides a first-person perspective on the artist’s emerging style in the first decades of his career through paintings, drawings, and a selection of archival materials that illustrate the artist’s life and work.

At the core of the exhibition are thirteen paintings collected by Sir Robert and Lady Sainsbury, who were among the artist’s earliest patrons and, eventually, close friends. The works include loans from public and private collections across the world, a number of which have rarely been seen in public.

Throughout his life, Bacon controlled every aspect of his art, from the selection and presentation of his work to the interpretation. He commanded that all exhibitions of his art be classic retrospectives, focusing on his most recent works. As a result, his later work was more visible. In contrast, Francis Bacon in the 1950s brings together paintings from a single decade in that earlier, less visible period.

“The usual feeling you get in a Bacon show is of tortured, strangled human beings alone in a room,” explained Michael Peppiatt. “These paintings have a much more narrative quality, a much more approachable Bacon, of sorts. Someone who hadn’t decided who he was going to be, someone still in search of himself.”

By the 1950s, Francis Bacon had acquired sufficient technical prowess as a painter and expressed his often dark vision with force, but he was not fully in command of his disturbing images. Eager to explore themes and take risks in his early career, Bacon created images that contain a rawness and sense of urgency that would be lost in his later works.

To guest curator Michael Peppiatt, the fifties seemed to hold a lot of the clues to who Francis Bacon was: “That was when he located his biggest themes. He felt that he had to focus on the most important things of all to man…his existence. ”

Francis Bacon is one of the most unique and powerful artistic visionaries of post-war European art. The 1950s were the most fruitful years in Bacon’s career, but they were also the most tumultuous and tortured of the artist’s existence. During this time, the artist was regularly without a fixed address, borrowing rooms and changing studios with incredible frequency. The artist established a pattern of all-night revelry, culminating in a feverish fit of creativity-painting into the early morning hours. Much like Bacon’s approach to life, his approach to the canvas was radical, aggressive, and seething with raw human emotion.

FRANCIS BACON

Bacon’s staunchly Catholic father banished him from their Irish home when he was sixteen after learning of his homosexual activities. Bacon departed for Berlin, where he participated in the bohemian nightlife. Leaving Berlin in 1927, Bacon traveled to Paris where he saw an exhibition of drawings by Picasso that inspired him to become an artist.

The Surrealism of Picasso was not the only influence on the artist; poetry and film had a significant role in forming Bacon’s artistic vision. Bacon described his process: “I am like a grinding machine, I look at everything, and everything goes in and gets ground up very fine.” For example, Sergei Eisentein’s famous film, Battleship Potemkin (1925), had a major impact on the artist. The blood-splattered face of the screaming nurse in this film was an enduring image for the artist, and one that featured in many of his paintings, most significantly, Study for the Head of a Screaming Pope, 1952.

Although he never attended art school, Francis Bacon began to draw and paint in watercolor upon his return to London in 1929. There he established himself as a furniture and interior designer. While Bacon did not seriously pursue painting, he did exhibit a few early paintings alongside his design work. It was not until the end of the war when he began to formulate his evocative style of misshapen figures that reflect his disturbed worldview.

The artist’s work was met with financial success during the 1950s, and the artist himself became an instant hit in art circles, showing work at major galleries and moving comfortably between his aristocratic patrons and the seedy side of society. Throughout this period, Francis Bacon visited exotic places where he engaged in relationships that would shape his life and influence his work. Bacon’s relationships with his lovers were vibrant and interesting, like the artist himself; however, some had violent and tumultuous overtones. Bacon’s personal relationships often bled onto the canvas, and are evident in the violence, intimacy, and passion portrayed in his work. According to the artist: “My work is like a diary. To understand it, you have to see how it mirrors my life.”

In the early 1960s Francis Bacon settled into a studio space in South Kensington, where he resided until his death in 1992. Bacon described the studio: “I feel at home here in this chaos because chaos suggests images to me.” Heaps of photos, bits of illustrations, books, catalogues, magazines, and newspapers provided nearly all of his visual sources. Bacon added: “Images also help me find and realize ideas. I look at hundreds of very different, contrasting images and I pinch details from them, rather like people who eat from other people’s plates.”

The artist utilized the entire space: paint was mixed on the door, and scraps of clothing were used to apply paint. When the artist died, seventy works on paper were found along with one hundred slashed canvases.

Catalogue and Tour

A fully illustrated, 174-page catalogue is available.

The exhibition will be on view at the Sainsbury Centre for Visual Arts, Norwich, UK, October-December 2006. From Norwich, the exhibition will travel to the Milwaukee Art Museum, January 27-April 15, 2007; then on to the Albright-Knox Art Gallery, Buffalo, New York, May 5-July 30, 2007.

This exhibition was initiated by the Sainsbury Centre for Visual Arts at the University of East Anglia, Norwich, UK, with funding from the Robert and Lisa Sainsbury Charitable Trust. It was curated by Michael Peppiatt, who is also the author of the exhibition catalogue. The exhibition has been made possible by UBS, the global financial services firm.

Milwaukee Art Museum
www.mam.org

October 3, 2006

Océ at Post-Expo & IfraExpo 2006: Océ points the way forward with flexible printing solutions


Post-Expo 2006: made-to-measure printing
Océ points the way forward with flexible printing solutions

At Post-Expo 2006 from 10 to 12 October in Amsterdam, Océ is presenting digital printing and document management solutions engineered for enterprises whose print challenges are as varied as their business. Océ’s keynote exhibits at the event include the Color on Demand concept with the Océ VarioStream 9230 high performance printing system, and the Océ CPS900 Platinum  color press powered by software for personalised printing of images. Using the Océ Document Designer Advanced software, Océ experts will be showing efficient ways to personalise, generate and manage business documents for variable data printing.

Direct mail in color featuring personalised images, shipping documents on special paper, individual RFID labels, counterfeit-proof certificates with invisible fluorescent toner, invoices with strategic use of color – at Océ’s joint booth with GMC (hall 8, booth 2040), Océ specialists will be explaining how to produce these documents efficiently. 
  
With IfraExpo 2006 taking place on the site at the same time, visitors also have the opportunity to see the power of the Océ VarioStream 9230 in action (Océ booth 4220). One of the world’s fastest continuous-fed digital presses for 3/3 recto and verso color printing, the Océ VarioStream 9230 delivers prints at a rate of 800 pages per minute in duplex mode. Unlike other continuous-fed presses, it lets users enrich their applications with color on demand, offering variable transitions between plain black & white output and printing with one or two additional colors (also custom colors). With its ability to handle such a broad range of applications, the entire Océ VarioStream 9000 series is ideal for business documents in the banking, insurance and telecoms sectors, as well as for the print providers serving these markets. 
  
The Océ CPS900 Platinum gives users consistent color quality from the first page of the job to the last – without any manual calibration. Thanks to the Océ Direct Imaging technology with seven process colors, the output exactly matches the color definitions on whatever substrate is used, empowering companies to print such documents as booklets, flyers, reports and direct mail cost-efficiently, even with individualised content. The Océ CPS900 Platinum also can also print personalised photographs in superlative quality. 
  
As another focus at the event, Océ is showing solutions for generating and personalising transactional and promotional documents. Using the Océ Document Designer Advanced software, businesses can easily create and manage their own design templates and manage white space – all the while profiting from an efficient, totally integrated workflow for printing personalised documents.

Océ website: www.oce.com
US Océ website: www.oceusa.com

October 2, 2006

Twilight: Photography in the Magic Hour Exhibition in London

 

TWILIGHT: PHOTOGRAPHY IN THE MAGIC HOUR

Victoria and Albert Museum, London

10 October - 17 December 2006

 

This autumn, the V&A will exhibit around 50 works by international contemporary artists who have explored the visual and psychological effects of twilight. Twilight: Photography in the Magic Hour will include work by established photographers Robert Adams, Gregory Crewdson, Philip-Lorca diCorcia, Bill Henson and Boris Mikhailov as well as emerging talents, Chrystel Lebas and Liang Yue and a specially commissioned film installation by Ori Gersht.

These artists explore the threshold between the familiar and the unknown, the comfortable and the dangerous and show twilight to be a poignant hour when sensibilities change and potential-laden atmospheres emerge. Twilight is used to present or facilitate the subversion of normality, the darker side of fantasies and the fairytale gone awry.

Twilight’s alchemical qualities have long attracted artists. Technically ambitious attempts to record and replicate the ambiguity of twilight can be mapped throughout the history of photography and have been particularly evident in recent years.

Martin Barnes, Curator of Photographs at the V&A and co-curator of the exhibition, said: “This exhibition will reveal the allure of the magic moment of twilight. In recent years, an increasing number of photographers internationally have chosen to explore the subject. It is an area of contemporary art where emotion and romanticism still have great currency.”

Twilight: Photography in the Magic Hour interweaves a range of explorations of the theme and will feature series of works by eight artists:

Robert Adams will be represented by printed black and white photographs from the series Summer Nights (1979-82), which were taken along the Eastern edge of the Rocky Mountains in Colorado. Amid urbanisation, Robert Adams focuses on the continuing beauty of trees, sky and the shape of the land. 

A selection from Gregory Crewdson’s Twilight series (1998-2002) will be on show together with his Beneath the Roses series (2003-05). They feature elaborately-constructed cinematic tableaux of bizarre, primeval rituals staged in pristine suburbs.

Philip-Lorca diCorcia’s Hollywood series (1990-92) reveals the flip side of sunlit Hollywood through portrayals of male sex-workers and drifters along Sunset Boulevard at the brief, visually charged moment when natural light and artificial light are in perfect balance.

Ori Gersht will be producing a specially commissioned new film installation for this exhibition. It will be shown alongside his Rear Window series in which he records dramatic twilight skies above London, referenced by slithers of skyline at the base of the prints.

Bill Henson is a passionate explorer of twilight zones, of the ambiguous spaces between day and night, youth and adulthood, male and female, nature and civilization. This will be the first major showing of the Australian artist’s work in the UK.  On display will be his untitled photographs of landscapes at dusk (2000-03) that show an industrial ‘no-man’s land’ that lies on the outskirts of cities, peopled by androgynous figures.

Chrystel Lebas will show works from her Abyss series (2003) in which she uses panoramic long exposures to capture the eerie atmosphere of forests at dusk in France, Germany and Japan. This is the moment when light is still present outside the confined space of the forest, yet darkness spreads under the trees. Also included will be her triptych made in the Arctic circle, Between Dog and Wolf (2005), ( from the French saying ‘entre chien et loup’) that describes the mystical atmosphere when day turns to night.  An hour-long film, Blue Hour (2005), captures the onset of twilight in a forest in real time.

Boris Mikhailov will be represented by works from his At Dusk series (1993), taken in the artist’s home city of Kharkow in the Ukraine following the collapse of the Soviet Union. Recording this period of transition, the series also references the city’s traumatic experiences during the artist’s childhood in World War II.

Liang Yue’s Several Dusks (2003) will be shown. These images are shot on the streets of Beijing where the haziness of dusk is precipitated by dust, sandstorms and pollution. 

The exhibition was curated by V&A’s photography curators, Martin Barnes and Kate Best.

A new book will be published by the V&A and Merrell Publishers to accompany the exhibition, Twilight: Photography in the Magic Hour by Martin Barnes and Kate Best (£35 Hardback).  With contributions from Steven Connor, Professor of Modern Literature and Theory at Birkbeck College, London and Emily Winterburn Curator of Astronomy at the Royal Observatory.

 

Twilight: Photography in the Magic Hour
Victoria and Albert Museum, London

10 October - 17 December 2006

October 1, 2006

A software improves all major image quality factors

Almalence Incorporated announces PhotoAcute Studio 2.0 - the breakthrough software product that enhances digital photos quality
PhotoAcute Studio processes sets of images taken in continuous mode. It utilizes superresolution algorithms to convert a sequence of photos into a single high-resolution and low-noise picture that could only be taken with much better camera.
PhotoAcute Studio improves all major image quality factors. The features at a glance are:
  • Spatial resolution increase
  • Noise reduction without losing image details
  • Dynamic range expansion
  • Geometry distortions and vignetting correction
  • Chromatic aberrations correction
PhotoAcute Studio operates for various camera and image types - from mobile cameras to DSLR cameras supporting RAW format and 16-bit color. The greatest leap in quality is achieved on RAW photos taken with DSLR cameras that gives the professional photographers an essential use.
The spatial resolution is one of the most important factors of digital image quality. It is limited by camera's matrix and lens, but this limit can be exceeded by means of superresolution - the method of enhancing the resolution of an image or of an optical system. This can be done by either acquiring more graphic information (e.g. taking and merging several images of the same object) or by reconstructing the details lost due to the faultiness of the optical system (applying the knowledge of the optical system properties). PhotoAcute Studio uses both ways to achieve the maximum image quality. The laboratory measurements of the widely accepted MTF50 parameter, performed with Canon 300D camera, show the doubling of the effective resolution.
The superresolution technology is used in supercomputer data processing in the industries such as satellite imaging and astronomy. Almalence engineers developed new mathematical methods of superresolution processing and implemented them within the software application for personal computers, making this powerful technology available for photographers.
The noise is the most undesirable factor that degrades image quality. The main problem of the noise reduction is the loss of image details. This becomes mostly apparent in the low light areas of the image, where the noise reduction removes both the noise and the details. PhotoAcute Studio combines several photos of the same scene, separating the useful signal and the noise, thus providing strong noise reduction without losing the image details.
Besides resolution enhancement and noise reduction, PhotoAcute Studio corrects common image artifacts: geometry distortions, chromatic aberrations and vignetting. By merging several images taken at different exposures, PhotoAcute Studio expands the dynamic range of the resultant image, revealing the details usually clipped in the highlights and the shadows.
All these features virtually improve the whole camera from matrix to lens, providing the possibility of taking better images even for those who use advanced and professional cameras.
PhotoAcute Studio is useful for wide range of photographers, who are interested in taking high quality images. Professional photographers, for whom the image quality is essential, will find it a good tool for achieving the best results in their work. For amateur photographers this product will be an add-on to their cameras, providing better images without changing the camera itself.
PhotoAcute Studio is Windows based application. The version for Macintosh is to be released in 2007Q1.
Detailed description of PhotoAcute Studio features, online help and examples gallery are available at http://www.photoacute.com
PhotoAcute Studio 2.0 is available for free in trial mode. The price of the full version varies depending on supported camera types: from $19 for mobile phone cameras to $119 for DSLR cameras with the support of RAW format and 16-bit color. Users can get free licenses by contributing to PhotoAcute Studio development.
PhotoAcute Studio 2.0 can be downloaded at:
http://www.photoacute.com/studio/download.html
About Almalence Incorporated Almalence Incorporated focuses on developing the cutting-edge methods of digital image processing and innovative software products for enhancing digital images. Our mission is to provide the photographers with the software tools that will help them to achieve the best image quality. The company was founded in 2005 by the group of professionals with strong background in computer science, software engineering and management.
Almalence Inc. - Press Release - 01.10.2006

Elliott Erwitt Six Decades

© Elliott Erwitt - All rights reserved

"Elliott has to my mind achieved a miracle working on a chain-gang of commercial campaigns and still offering a bouquet of stolen photos with a flavor, a smile from his deeper self."
Henri Cartier-Bresson
Andrew Smith Gallery opens an important exhibit titled Six Decades by internationally renowned photographer Elliott Erwitt, with an opening reception and booksigning for the artist on Friday, October 13, 2006 from 5-7 p.m. Erwitt's photographs of ordinary life, beach scenes, celebrities, children and dogs have delighted viewers for decades. At age 78 he has culled through sixty years of work and chosen what he considers to be his very best photographs. Many have never been published before. These ebullient images reflect the vast scope of the wittiest photographer of our time.
Andrew Smith Gallery will have approximately 25 of Erwitt's classic photographs representing many phases of his long career. During the opening Elliott Erwitt will be signing copies of his newest book, Personal Best (teNeues, 2006). The exhibit continues through November 20, 2006.
Erwitt's superb sense of humor coupled with a deceptively casual photographic technique inspired the eminent photography critic, John Szarkowski, to remark that Erwitt is "one of the few photographers whose work is also identified by extraordinary wit." Traveling around the world on magazine assignments, Erwitt always found time to take the wry and timeless photographs of ordinary people and dogs that have made him famous. His photographs of Hollywood legends like Marlene Dietrich and Marilyn Monroe, and political figures like Nikita Khrushchev and Richard Nixon are equally penetrating and insightful.
According to writer, Sean Callahan, survival seems to be built into Erwitt's nature, along with the ability "to be an astute observer of others, highly sensitive to the vicissitudes of life and, when necessary, utterly charming and disarming." Erwitt was born in Paris in 1928, the only child of displaced Russian parents who raised him in Milan. When he was 11 the family fled Europe on the last boat out of free France. For several years he and his parents lived in New York City before moving to California. At age 16, after his parents split up, Erwitt was on his own in Los Angeles, attending Hollywood High while living in a rented bungalow with friends. After Edward Steichen arranged his first commercial job he established himself in New York the 40s and 50s as a leading magazine photographer. His friendship with Robert Capa resulted in his joining the prestigious Magnum Agency in 1953 after he got out of the army.
In his long and successful career as a magazine and advertising photographer Erwitt has used an arsenal of cameras. But the images he shot for himself were usually made with a classic Leica rangefinder and in black and white. He has remarked, "The most important advice to photographers is f:8 and be there." In his most poetic images something wordless and magical happens in a fleeting instant. In Orleans, France, 1952 Erwitt snapped the shutter just as a pigeon fluttered down to a deserted cobblestone street illuminated by a triangular shaft of sunlight.
Erwitt has shot annual reports of Fortune 500 companies, worked on six-figure advertising campaigns for Madison Avenue, and on breaking news for Paris Match. An assignment shooting women's shoes inspired him to take a closer look at dogs as subjects. New York City, 1974, one of Erwitt's most famous photographs, was taken with the camera near sidewalk level of a bug-eyed, rat-sized dog dressed in a knitted sweater and hat standing next to two gigantic pairs of legs, one wearing boots, the other belonging to another dog. The humor lies in the somewhat idiotic expression of the tiny dog which suggests it is the dwarfed product of a canine/human marriage.
In Erwitt's classic image, California, 1955, the reflection of a couple kissing in a parked car's side mirror is like a joyful bubble against a Pacific ocean sunset.
In 1960, on the set of the movie The Misfits, Erwitt photographed a team that included Marilyn Monroe, Clark Gable, Montgomery Clift, Arthur Miller, John Huston, and Eli Wallach. The cast looks a little haggard, and even Monroe struggles to play her diva role. It was the last film either Gable or Monroe would make before their deaths. Erwitt said of Monroe, "Physically she was surprisingly unattractive; the beauty was manufactured. But she was extremely intelligent and sensitive. And likeable."
In 2006 several touring exhibitions of Erwitt's photographs were shown at New York's International Center for Photography, in Paris, at Japan's Mitsukoshi, and in Barcelona, Spain. Additionally, a major exhibition in Australia is being planned. His photographs have been collected and exhibited at museums including the Museum of Modern Art, New York, the Smithsonian Institution, the Art Institute of Chicago, the Museum of Modern Art in Paris, and the Kunsthaus in Zurich. His photographic books include the comprehensive monograph Personal Exposures/Elliott Erwitt (Norton, 1988); On the Beach (Norton, 1991), and Elliott Erwitt: To the Dogs (Norton, 1992). Elliot Erwitt currently lives in New York City.
Liz Kay
Andrew Smith Gallery - 203 W. San Francisco St. Santa Fe, NM 87501
www.andrewsmithgallery.com