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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


January 30, 2007

ArtRage 2 for UltraMobile PCs UMPC

ArtRage 2 is now available in a version specifically designed for UltraMobile PCs. This new version of Ambient Design’s stylish and natural painting application has been enhanced to make it easier to use with small form-factor portable PC devices. For the painting and sketching experience ‘on the go’ ArtRage 2 for UltraMobile PCs gives you ease of use. UltraMobile PCs present two challenges to graphical software. Firstly the screen resolution is typically lower than a desktop or notebook computer. UMPC displays are typically around 800 x 480 pixels in size. This means there is less space to contain both the user interface as well as the working area of a project. And secondly UltraMobile devices are commonly used with fingers as input devices meaning the user-interface elements have to be larger and easier to press. Typically UltraMobile devices are used while they’re carried in the hand rather than being placed on a level surface, so it can be more difficult to press user-interface elements even when using a stylus on the UMPC screen. ArtRage 2 for UltraMobile PCs overcomes these challenges: - Increased the size of small UI elements: The smallest UI elements from ArtRage 2 have either been increased in size or made their ‘clickable area’ larger in the UMPC version. This makes them easier to press with fingers or a stylus.
- Controls and panels get out of the way: Panels in ArtRage 2 get out of the way while painting. In the UMPC version they more actively minimize when not being used, and leave a more easily clicked control to bring them back.
- Panels and controls hide when ‘Enter’ is pressed: UltraMobile PCs have an ‘Enter’ button mapped to a physical button on the front of the case. When this button is pressed while using ArtRage 2 all the User Interface controls and panels hide completely. So it’s very easy to work with all the panels and controls visible with one button press, but hidden completely while you’re working. This leaves the entire display surface available for painting and sketching.
- All the features of ArtRage 2 Full version!: ArtRage 2 for UltraMobile PCs has all the tools, features and style of ArtRage 2.

Sony Pictures Imageworks Senior VFX Supervisor Richard Hoover receives Oscar Nomination

SONY PICTURES IMAGEWORKS SENIOR VISUAL EFFECTS SUPERVISOR RICHARD HOOVER RECEIVES OSCAR® NOMINATION FOR HIS WORK ON SUPERMAN RETURNS Directed by Bryan Singer, SUPERMAN RETURNS relates the epic adventures of the Man of Steel as he struggles to find his place in a society that learned to survive his mysterious absence. His journey of redemption takes Superman from the depths of the ocean to the far reaches of outer space as he protects the world he loves from cataclysmic destruction. SUPERMAN RETURNS was released on June 30, 2006 by Warner Bros. Pictures, a Warner Bros. Entertainment Company. Richard Hoover's team successfully achieved four main challenging goals: they created a truly believable digital double of Brandon Routh in the actor's role as Superman; they built a digital version of Superman's famous red cape that could be directed as precisely as if it were a character in the film; they recreated a full-scale 777 airplane and accompanying Space Shuttle for the extensive shuttle disaster sequence; and convincingly created Metropolis, one of the most famous fictional cities in the world, complete with its most iconic building, the Daily Planet. Imageworks used the live action set footage shot with Sony Panavision Genesis Camera System combined with digital human acquisition to create a digital superhero that is both entertaining and awe inspiring. This is the second Oscar® nomination for Mr. Hoover, who previously was nominated in the category of Achievement in Visual Effects for his work on "ARMAGEDDON. His work at Imageworks prior to SUPERMAN RETURNS includes visual effects supervision on DARKNESS FALLS and SEABISCUIT, the film adaptation of the best-selling novel. SUPERMAN RETURNS represents Imageworks' passionate dedication to the creation of fully realized digital characters. Imageworks is proud of its contribution to the film and will continue to push the boundaries of imagination to innovate and inspire the creative community. Sony Pictures Imageworks recently completed work on GHOST RIDER for director Mark Steven Johnson and currently is in production on such projects as SPIDER-MAN 3, SURF's UP and BEOWULF.

January 29, 2007

Photoshop Lightroom 1.0

Adobe lance Photoshop Lightroom 1.0
Plus de 500 000 bêta-testeurs ont contribué à façonner le nouveau logiciel dédié à la photographie numérique.
Adobe® Systems Incorporated annonce la disponibilité immédiate en précommande de son logiciel Adobe Photoshop® Lightroom™ 1.0, dont la commercialisation est prévue pour la mi-février 2007. Conçu pour l’importation, la gestion et la présentation d’importantes quantités de photographies numériques, Photoshop Lightroom permet aux photographes professionnels de passer davantage de temps derrière l’objectif et moins de temps sur leur ordinateur. Grâce à la participation de plus de 500 000 photographes à son programme de versions bêta publiques au cours des 12 derniers mois, Photoshop Lightroom intègre aujourd’hui de nombreuses fonctionnalités innovantes rationalisant les travaux de photographie numérique. Pour permettre au plus grand nombre de s’équiper, Adobe propose Photoshop Lightroom à un tarif spécial de lancement de 199 € TTC (valable jusqu’au 30 avril 2007 sur Adobe Store). Après cette date, Photoshop Lightroom sera commercialisé au prix public conseillé de 299 € TTC.
« Les photographes professionnels se sont prêtés au jeu et nous ont donné leur avis, lors de la mise à disposition des différentes versions bêta.» déclare John Loiacono, Senior Vice-President Creative Solutions Business Unit chez Adobe. « Tout, depuis les outils de visualisation et d’évaluation d’images jusqu’aux fonctions de retouche, a été mis au point avec l’aide de professionnels. Il s’agit d’une véritable collaboration et nous tenons à remercier tous ceux qui, par leur précieux concours, nous ont permis de développer un outil de photographie professionnelle hors pair. »
Optimisations fonctionnelles de Lightroom
De nouvelles fonctionnalités ont été ajoutées à Photoshop Lightroom depuis la version bêta 4.1, la refonte des modules Bibliothèque et Développement s’inscrivant en complément des développements apportés aux composants Diaporama, Impression et Web. Si, dans le module Bibliothèque, de nouveaux outils évolués de gestion des mots-clés facilitent le filtrage de collections volumineuses, une boîte de dialogue d’importation perfectionnée pour une manipulation plus souple des fichiers, élargit le choix en matière d’emplacement. Le nouveau système d’exploration des métadonnées garantit un accès rapide à des balises d’information clés, via un système de classement et de notation reposant sur des étiquettes de couleur et une trieuse capable de classer et de localiser des photographies en un clin d’oeil. Nouveautés du module Développement, les outils Copie Virtuelle et Instantanés permettent de présenter plusieurs versions d’une même image, élargissant au maximum le choix des clients sans leur compliquer la vie avec l’enregistrement de versions physiques distinctes.
A noter également un outil de réglage ciblé pour la teinte, la saturation et la luminosité garantissant des retouches précises et intuitives. Les fonctions Duplication et Correcteur assurent, pour leur part, des retouches non destructives permettant d’éliminer les imperfections sur une ou plusieurs images.
Un traitement de qualité supérieure des images brutes
Mettant à profit la technologie Adobe Camera Raw, Photoshop Lightroom prend en charge plus de 150 formats de fichiers RAW natifs, en plus des formats JPEG et TIFF, et assure d’emblée la conversion de fichiers bruts. Parmi les derniers modèles d’appareils photo pris en charge figurent les Nikon D 40 et 80, et le Pentax K10D. Les photographes ont ainsi la possibilité d’exploiter Lightroom de concert avec les derniers modèles sur le marché, en ayant la certitude que leurs fichiers seront reconnus aujourd’hui comme demain. Au moment de l’importation, les fichiers peuvent être convertis au format DNG (Digital Negative) ou bien renommés et segmentés par dossier ou par date. La spécification DNG est une initiative de tout le secteur visant à créer un format de fichier universel pour résoudre les problèmes de production et d’archivage. Elle vise à accélérer l’adoption des nouveaux appareils photo tout en donnant aux photographes professionnels la certitude que leurs travaux numériques seront archivés en toute sécurité et demeureront accessibles à mesure que les technologies d’imagerie numérique évolueront.
Tarif et disponibilité - Adobe Photoshop Lightroom sera commercialisé à la mi-février 2007 ; ce logiciel est disponible en précommande en France sur Adobe Store à l’adresse www.adobe.fr/store au tarif spécial de lancement de 199 € TTC. Une remise de 100 € est consentie à tous les clients jusqu’au 30 avril 2007 pour remercier les utilisateurs de Photoshop de leur fidélité, ainsi que les adeptes de la première heure du logiciel Photoshop Lightroom et les participants au programme de versions bêta publiques qui ont consacré de leur temps et de leur énergie. Ensuite, Photoshop Lightroom sera commercialisé au prix public conseillé de 299 € TTC. La configuration recommandée est la suivante : Mac OS X 10.4.3, processeur PowerPC G4 cadencé à 1 GHz ou Microsoft® Windows® XP SP2, processeur Intel® Pentium 4® avec 768 Mo de mémoire vive et une résolution d’écran de 1024 x 768 pixels. Adobe Photoshop Lightroom est une application au format Universal Binary qui s’exécutera en mode natif sur des ordinateurs Macintosh équipés de processeurs PowerPC et Intel.
L’annonce de Photoshop Lightroom 1.0 marque l’épilogue officiel du programme de versions bêta publiques Lightroom. Les utilisateurs des versions bêta de Lightroom y auront accès jusqu’au 28 février 2007, date de son expiration. Pour plus d’informations, consultez le site www.adobe.fr
© Adobe, le logo Adobe et Photoshop Lightroom sont des marques ou des marques déposées d'Adobe Systems Incorporated aux États-Unis et/ou dans d'autres pays. Macintosh est une marque d'Apple Computer, Inc. déposée aux États-Unis et dans d'autres pays. Microsoft et Windows sont des marques ou des marques déposées de Microsoft Corporation aux États-Unis et/ou dans d'autres pays. Pentium est une marque déposée d'Intel Corporation aux États-Unis et dans d'autres pays. Toutes les autres marques citées sont la propriété de leurs détenteurs respectifs.

January 27, 2007

Imageworks Congratulates Monster House on Oscar Nomination

SONY PICTURES IMAGEWORKS CONGRATULATES MONSTER HOUSE ON BEST ANIMATED MOVIE OSCAR NOMINATION® Sony Pictures Imageworks congratulated MONSTER HOUSE, the family-friendly thriller from Columbia Pictures, on its Academy Award® nomination for best Animated Feature. The movie was directed by Gil Kenan and executive produced by Robert Zemeckis, Steven Spielberg and Jason Clark. The filmmakers relied on a specially-refined version of Imageworks' proprietary motion-capture process, Imagemotion, which provided a creative instrument with which they could record the live-action performances in richly detailed data upon which the animation is then based. Additionally, one of the central goals of the MONSTER HOUSE was to anthropomorphize the house, to give it expression and breathe life into the inanimate bricks and mortar structure. Imageworks' talented artists hand-animated every aspect of this amazing central character, which on January 6th received a nomination from the Visual Effects Society for Outstanding Animated Character in an Animated Motion Picture. The film also was recognized by ASIFA Hollywood with 7 Annie Award nominations, including Best Feature and Best Director for Gil Kenan. MONSTER HOUSE is the second feature to use Imagemotion, following its debut on THE POLAR EXPRESS, directed by Robert Zemeckis. Imagemotion allows for simultaneously capturing the entirety of a performance, including detailed facial expressions and subtle body movements by multiple actors, which then can be integrated into CG characters. The process, which also is being used on Zemeckis' upcoming BEOWULF, retains all of the spontaneity and dynamic interactions of the live rendition. Sony Pictures Imageworks was engaged because of its renowned expertise in the highly specialized work of creating photo-real CG characters and environments. The company rose to the exciting challenge by harnessing its unique combination of artistry, talent, pioneering digital production and top quality animation. MONSTER HOUSE is an ImageMovers/Amblin Entertainment presented by Columbia Pictures. In addition to the Academy Award® announced today, it has received many other honors including a Golden Globe nomination for Best Animated Film, 7 Annie Awards nominations including Best Animated Feature and Best Director Gil Kenan, and a Broadcast Film Critics Association Awards nomination for Best Animated Feature. Sony Pictures Imageworks recently completed work on GHOST RIDER for director Mark Steven Johnson and currently is in production on such projects as SPIDER-MAN 3, SURF'S UP and BEOWULF.

January 24, 2007

Sakar EZ Grip Kids Digital Camera

Sakar International announced today the introduction of the Crayola ‘EZ Grip Digital Camera. This news comes on the heels of the recent announcement of Crayola granting Sakar the rights for Digital Still and Video Cameras, Digital Photo Frames, Flashlights and Computer Accessories. The line of kids’ electronic products under the Crayola brand, aimed at Crayola’s core audience of children aged two to seven years old, will be highly interactive and colorful, combining learning with fun and value.
The EZ Grip Camera will be available at stores beginning in Spring 2007 for an estimated MRP of $49.99. The camera features EZ grips for small hands and comes equipped with proprietary software that includes a ‘write a story’ template, printable frames, the ability to create finger puppets out of images, games, and even a function which allows the user to create line art from images to print out and color.
Crayola, the #1 brand of children’s art products, has had an established licensing program for over twenty years creating products that moms and teachers trust in a variety of categories including apparel, accessories, bed and bath, publishing, stationery, toys, personal care, consumer electronics, giftware, collectibles and food. In 2005, Crayola was awarded the distinguished honor of ‘Best Corporate License’ by LIMA.
"Kids' electronics is a growing category for Crayola, and we're happy to partner with Sakar to strengthen our presence in this aisle," said Kim Charles, Associate Licensing Manager. "We feel there's a tremendous potential for the brand far beyond art and stationery, and we're excited tap into Sakar's expertise to help take us there."
We are extremely proud to be launching a children’s digital camera with Crayola – the pre-eminent children’s art brand in the United States.” Said Liza Abrams, Director of Licensing for Sakar International. “The Crayola brand carries with it the ‘golden seal’ of approval by parents and children alike. The name itself is synonymous with creativity and that is exactly what our camera will be – a fully interactive and creative digital experience for children.”
Image (c) Sakar International Inc. - All rights reserved - www.sakar.com

January 23, 2007

How to get high quality still frames from digital video ?

PhotoAcute Studio, the cutting edge software product for enhancing digital photos quality now allows to get high quality still frames from digital video. It uses several consecutive frames to create high-resolution and low-noise picture that is much better than the single frame.
Imagine you have recorded an interesting moment or a beautiful view with your camcorder. Whether you want to keep it as a photo, send it to someone or publish on the web page you will desire to have the image of better quality than camcorders can provide. Furthermore, if you decide to print the still frame, it is necessary to have an image with high resolution and low noise. PhotoAcute Studio is a perfect solution in such cases.
The extraction of high quality images from video is also very useful for professional publishers and news agencies. Sometimes an image is needed for publishing while only the video recording of a certain event is available. In such cases, the quality of the still frame is essential. Instead of performing time-consuming and high-skill image edition procedures, PhotoAcute Studio offers fast, automatic functionality, giving the better result.
For achieving the highest possible quality of still frame on a particular camcorder model, Almalence Inc. offers custom calibration procedure. A recording of a special test chart is processed by Almalence engineers and a PhotoAcute Studio profile tuned for this particular camera is created.
When converting the sequence of video frames into a single picture, PhotoAcute Studio improves all major image quality factors. The image enhancing 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 has a simple and intuitive interface and is quite easy to use. PhotoAcute Studio is Windows based application. The version for Macintosh is to be released in 2007 Q2.
Detailed description of PhotoAcute Studio features, online help and examples gallery are available at
http://www.photoacute.com/
PhotoAcute Studio 2.10 is available for free in trial mode. The video processing features are included in the Standard license, which cost $49.
PhotoAcute Studio 2.10 can be downloaded at:
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 - 23.01.2007 - Photo (c) Almalence Inc.

January 21, 2007

Imageworks: Origin of Creative Achievement

Press Release - CULVER CITY, CA – January 17, 2007 Sony Pictures Imageworks exemplifies the very best in digital imagery and animation. The quality comes from the people who have made Imageworks what it is today. As we embark on our 15th-year in business and look ahead to our future, we see our visual identity as an important reflection of ourselves: who we are, what we do and where we want to go. In a year of achievement, expansion and diversification, Imageworks, the nucleus of Sony Pictures Digital Entertainment and broadly recognized for some of the finest and most innovative visual effects, digital characters, CG animation and pioneering technology, takes this opportunity to develop a graphic identity as clean and consistent as our award-winning work. With support and feedback from a wide cross-section of our company, we embarked on a comprehensive design exercise to capture the spirit, vitality and, most importantly, the quality and qualities of Imageworks. Through extensive interviews and observation, we defined and distilled our core values into three words that became the guiding principles that help drive the design and emphatically bring forward the recognition of Imageworks' infinite creative achievement—past and future. Our goal is to provide Sony Pictures Imageworks with a clear, consistent and luminous identity. One that draws on a heritage of innovation from Sony, and a legacy of entertainment from Columbia Pictures. THE CORE VALUES DEFINING IMAGEWORKS The Imageworks identity is a promise, a vital living declaration that behind everything we do there is an unequaled creative kinship with all those with whom we share our passion. Our passion for humanity. For character. For our colleagues and our clients and our audience. For the kind of visual storytelling that touches our souls. For the hopes and dreams and triumphs of ordinary people doing extraordinary things. Our true heroes. Then comes imagination. The way we look at things. Differently. Our vision. Our boundless creativity and ongoing delight in the anticipation of what could be. And "what could be", becomes the result of a collaboration between imagination and technology—where we ultimately explore, discover and shape our creative vision. This is where the magic takes flight. Humanity. Imagination. Technology. The catalyst to Imageworks' identity. WHAT COLORS OUR WORLD The stylized symbol that anchors the Imageworks logo is an iris. It represents humanity and wonderment, and symbolizes the proverbial window to our imagination. It is our emotional filter. At the center, a single square depicts the sparkle in our eye. Technology makes the complex appear simple. This is why we chose to configure the iris with a minimal amount of simple squares to create our circular mark. The many varying ways we orchestrate these squares through animation and design will be a reflection of our imagination and the technology we use as our part of our expressive palette. We have created three versions of the Imageworks icon. One fully modeled version for use in four-color print and animated applications. A second for 2D flat-color and single-color print applications. And a third for Imageworks 3D. Additionally, we have a "Sony Pictures" configuration for ancillary corporate usage. A comprehensive Brand Style Guide will be forthcoming to outline specific applicable usages. CLARITY Our brand identity is our face. It embodies our most endearing qualities, becoming our most enduring asset. It is a promise built upon the cornerstone of our core values. A promise that what we think, what we create, and what drives our vision is an extension of these values. The success of Imageworks depends on all of us. In fact, we are so committed to fulfilling that promise that we have staked our claim on our performance and passion as a company and seated a visual declaration prominently above our name for all to see. Our brand is the currency for our future success. Our new Made at Imageworks logo is the symbol for our collective consciousness. We have created outstanding work and continue to enjoy industry kudos and accolades for filmmaking we're proud of. But as the proverbial saying goes: "You ain't seen nothing yet."

January 15, 2007

Logiciel Acolens

Logiciel professionnel de correction d’erreurs de l’objectif pour les photographes

Corrections en termes de :

  • distorsion géométrique
  • d' aberrations chromatiques
  • de vignetage
  • d’effets de flou
  • et de relief.
ACOLENS vous offre en plus la possibilité de calibrer vous-même votre propre objectif pour une précision et un rendu parfaits.
ACOLENS permet d’optimiser la qualité de l’image sans la manipuler, ceci grâce à une méthode de mesure extrêmement précise et uniquement d’ordre technique. Acolens reste neutre par rapport à l’image et respecte la créativité, la réalisation de la photo.
ACOLENS a remporté le premier prix de l’innovation « Photokina Star » au salon Photokina 2006.

January 14, 2007

Live Expo Photo de Stephane Kerrad

Rubrique Exposition Photo > 2007 > Dijon .
Née d’un désir commun entre Stéphane Kerrad et le Zénith de Dijon, l’exposition de photo « LIVE » retrace en une quinzaine d’images les moments artistiques forts qui ont marqué plus d’un an de programmation dans cette nouvelle salle inaugurée en octobre 2005.
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Des photos de Ben Harper, Texas, Jamait, Moby, Thiéfaine ou encore Louise Attaque sont exposées. Stéphane Kerrad opte pour un axe esthétique qui interpelle l’oeil en mettant au premier plan les lumières, les ombres ou les clairs-obscurs pour laisser ensuite l’artiste apparaître.
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Les photographies de Stéphane Kerrad seront exposées à partir du 30 janvier 2007. Il s'agit de tirages de 2 mètres suspendues dans le hall d'acceuil du Zénith de Dijon. Les photos seront visibles pour ceux qui vont voir un spectacleau Zenith.
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Stéphane Kerrad
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Photographe et graphiste de talent, Stéphane Kerrad est un passionné d'image. Influencé par le travail du photographe Claude Gassian, son approche photographique des artistes et du spectacle l'ont amené à travailler pour plusieurs salles et de nombreux producteurs. Il a entre autre réalisé plusieurs missions pour les salles du groupe Vega (Docks du Havre, Zénith de Dijon, Zénith de Limoges).
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De l'Orchestre de Paris aux concerts rock tels que Oasis, Lenny Kravitz ou Ben Harper, ses photos sont régulièrement utilisées pour la création d'affiches, de programmes, de pochettes de cd ou dvd.
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Stéphane Kerrad fait partie de la nouvelle génération qui allie photographie, graphisme et multimédia et fonde en 2005 un studio de création, concentrant de multiples talents (graphistes, photographes, web designers) au service des artistes et des salles de spectacles : KB Studios.
. Exposition à partir du 30 janvier 2007
Zénith de Dijon
Rue de Colchide
21000 Dijon
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Gilles Saussier Studio Shakhari Bazar

Rubriques : Livre de photographies et Exposition de Photographies

Présentation du livre publié par Le Point du Jour puis de l’exposition à la Galerie Zürcher à Paris. Plutôt que de réécrire une synthèse, je vous livre ici les présentations des deux événements par l’éditeur et la galerie. Les deux se complètent.

 

Gilles Saussier, Studio Shakhari Bazar, Le Point du Jour Le Livre de photographies

GILLES SAUSSIER
Studio Shakhari Bazar

Ce projet débute en 1997 par une exposition sous chapiteau dans Shakhari bazar, dernière poche de diversité culturelle et religieuse de Dhaka, capitale du Bangladesh. Elle se composait de portraits d’habitants, restes inutiles d’un reportage mené en 1995/96. Le dernier jour, les photographies furent distribuées aux habitants, l’exposition prenant fin au fur et à mesure que chacun emportait son portrait.

En 2001 et 2004, Gilles Saussier documente la dissémination de ses images dans les boutiques et les intérieurs, leur cohabitation avec les posters de cinéma, les images de la culture bengalie, les photos de familles. A cette occasion, il distribue également des portraits réalisés lors de l’exposition de 1997, qui représentent des habitants tenant à la main leur portrait de 1995/96.

Ces couches d’images superposées forment le fil conducteur d’un processus d’une dizaine d’années – Gilles Saussier étant revenu une dernière fois en 2006 – qui paraît épouser le rythme cette rue-méandre fait de mouvements et d’attentes. A travers un texte d’introduction et des notations au fil de l’ouvrage, Gilles Saussier évoque le présent et l’histoire de Shakhari bazar, l’évolution et les modalités de son propre travail.

Gilles Saussier, Studio Shakhari Bazar
Le Point du Jour Editeur
220 x 220 - 168 pages
118 photographies en couleurs
Couverture cartonnée
ISBN : 2-912132-51-7 / 35 €

 

L’Exposition de photographies

Gilles Saussier, Studio Shakhari Bazar
Galerie Zürcher, Paris
13 janvier - 6 mars 2007

Depuis 1997, Gilles Saussier se rend régulièrement dans la vieille ville de Dhaka au Bangladesh où l’enclave hindoue capte particulièrement son attention. Il y prélève des "fragments de réel" le long de sa rue sinueuse de 300 m de long : beaucoup de portraits – une manière d’établir le contact avec les gens – dans les ateliers des sculpteurs traditionnels de divinités comme dans les salons de coiffure, ou chez le boucher. A l’hôtel Kalpana, il finit par nouer des relations amicales avec les propriétaires, Brindapan Nag et son fils Dipok qui l’aident à monter une exposition de ses photographies sous un chapiteau en tissus et bambous à la façon des banquets de mariage et des fêtes religieuses. Saussier choisit d’exposer soixante-quatorze portraits de personnes susceptibles de se reconnaître facilement et auxquelles les photos furent distribuées à la fin de l’exposition : chaque personne est re-photographiée tenant son portrait à la main, le nom et l’adresse de chacune est consignée par Saussier dans un registre.

En 2001, 2004, 2005 et 2006, il revient pour dit-il : "rendre visite aux images et aux personnes". A chaque visite, il documente la dissémination de ses photographies dans les intérieurs et réalise de nouveaux portraits. Un processus de mise en abîme s’engage, formé de plusieurs couches de portraits superposés. Il est arrivé aussi qu’un peintre d’affiches (Studio Aaka Publicity) ait copié certaines photographies en peinture sur toile, aussitôt photographiées à son tour par Gilles Saussier. L’aboutissement de ce travail mené depuis dix ans est à la fois l’exposition (à chaque fois revisitée et augmentée) et le livre du même titre, présenté ci-dessus : Studio Shakhari Bazar*, lequel sera sans doute aussi remis en jeu, sous une forme ou une autre…

* Studio Shakhari Bazar, Le Point du Jour éditeur, 2006. Avec le soutien de La Filature (Mulhouse), du Musée Nicéphore Niepce (Chalon sur Saône), du Pôle Image Haute-Normandie (Rouen), du Centre régional de la photographie (Cherbourg Octeville), de l’Association Peuple & Culture.

 

Brève biographie : Né en 1965, GILLES SAUSSIER entre à l’agence Gamma en 1989. Il couvre la Révolution roumaine, la Guerre du Golfe, découvre le Bangladesh suite au cyclone de 1991. En 1994, il rompt avec le photojournalisme, s’installe à Dhaka, coopère avec MAP, un collectif de photographes bangladais. De retour en France, il publie l’enquête documentaire Living in the fringe (1998), et s’intéresse aux rapports entre art conceptuel et tradition photographique documentaire. Depuis 2003, il est représenté par la Galerie Zürcher où il expose régulièrement.

 

Galerie Zürcher

56, rue Chapon

75003 PARIS

January 12, 2007

Liam Gillick produce new London pocket tube map cover

Platform for Art unveils new pocket Tube Map cover produce by the artist Liam Gillick

Platform for Art, London Underground's (LU's) art programme, has commissioned Liam Gillick, who was shortlisted for the Turner Prize in 2002, to produce the latest cover for the new pocket Tube map. The new design, which is now available free from Tube stations, will be the front cover for the pocket Tube map in the first part of 2007. Each year, London Underground distributes 15 million copies of this map to passengers. Previous Pocket Tube map covers have been designed by famous artists such as Yinka Shonibare MBE, Emma Kay and David Shrigley.

Gillick's innovative new design for the world famous Tube map entitled 'The Day Before (You Know What They'll Call It? They'll Call it the Tube)' is written in 12 different sets of colourful letters to symbolise the twelve lines which make up the Tube network. The design shows the words of the date of the last day in London without London's famous Underground network: Friday 9 January 1863. London Underground commenced services the following day on 10 January 1863 between Paddington and Farringdon.

Artist LIAM GILLICK was shortlisted in 2002 for the Turner prize in recognition of his solo exhibition The Wood Way at the Whitechapel Art Gallery and for his outdoor installation Annlee You Proposes at Tate Britain. In 2003, he received a joint commission from Platform for Art and Frieze Art Fair to create a set of posters that were displayed at Great Portland Street Tube station. These had strong single colours and text in simple typography.

All Tube map covers will be available as large format posters from the London Transport Museum shop or by contacting Platform for Art directly. The new Pocket Tube maps are available for free from London Underground stations from January 2007

January 8, 2007

Sakar get Creative with Crayola

Sakar International, Inc. announced today that it has been tapped to develop a line of kids’ electronic products for Crayola®. This news comes on the heels of recent licensing deals announced by the company including, DreamWorks Animation’s Shrek 3, For Dummies, Out of Order and The Spy Academy.
Sakar has been granted the rights for Digital Still and Video Cameras, Digital Photo Frames, Flashlights and Computer Accessories. The line of kids’ electronic products under the Crayola brand, aimed at Crayola’s core audience of children aged two to seven years old, will be highly interactive and colorful, combining learning with fun and value. For instance, the digital camera will come complete with proprietary software that includes games, editing techniques and fun crafts kids can create from their photos. Product is expected to be on-shelf at mass and specialty retailers beginning Spring 2007 and will debut to the trade at the 2007 International CES, Las Vegas Convention Center, Booth #14938, January 8 – 11.
Crayola, the #1 brand of children’s art products, has had an established licensing program for over twenty years creating products that moms and teachers trust in a variety of categories including apparel, accessories, bed and bath, publishing, stationery, toys, personal care, consumer electronics, giftware, collectibles and food. In 2005, Crayola was awarded the distinguished honor of ‘Best Corporate License’ by LIMA.
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January 2, 2007

Henri Cartier-Bresson’s Scrapbook: Photographs 1932-46

Henri Cartier-Bresson Bruxelles, Belgium, 1932 © Henri Cartier-Bresson / Magnum Back of the image - HCB wrote: "One of my first fotos"
At the beginning of World War II, French photographer Henri Cartier-Bresson was captured and held in a German prisoner of war camp for three years before he escaped in 1943. To the outside world, he was presumed dead, and the Museum of Modern Art (MoMA) in New York prepared to do a memorial exhibition (which ultimately took place in 1947). When Cartier-Bresson emerged, alive, he joined the efforts to assemble the retrospective. He selected and personally printed examples of his best works—including many that had never been printed before. Upon his arrival in New York in April 1946, he bought a scrapbook into which he meticulously glued all the prints in chronological order. In the 1990s, realizing the tremendous value and quality of the prints, he began taking them out, keeping thirteen pages mounted. These prints and the remaining intact pages will be on view in the landmark exhibition, Henri Cartier-Bresson’s Scrapbook: Photographs, 1932-46 at the International Center of Photography (1133 Avenue of the Americas at 43rd Street) from January 19 through April 29, 2007.
Containing work from Cartier-Bresson’s rich, early photographic career (1932-46), the prints from this scrapbook, comprising well over 300 vintage photographs, provide an extraordinary window into the photographer’s process and artistic development. These significant early images, including those from his travels to Italy, Spain and Mexico, and his encounters with Surrealism and modern art, reveal Cartier-Bresson’s working methods including some of his most famous portraits. Many of the images included in Henri Cartier-Bresson’s Scrapbook: Photographs, 1932-46 are among the photographer’s most noted and now form the core collection of the Fondation Henri Cartier-Bresson, established by him, his wife, photographer Martine Franck, and their daughter Mélanie in 2002 to preserve his legacy and work. Curated by Agnès Sire, head of the Fondation Henri Cartier-Bresson, the exhibition will bring together 331 original scrapbook images printed by Cartier-Bresson in 1946 plus fifteen modern prints, and larger prints made in 1947 for the MoMA exhibition.
International Center of Photography (ICP) Director Willis Hartshorn noted, "The International Center of Photography and Henri Cartier-Bresson have a long history. When ICP opened its doors in 1974, it was with an exhibition of the work of Cartier-Bresson called Apropos USSR (1954-1973). Through the years, his exhibitions at ICP have included a major retrospective, Henri Cartier-Bresson: Photographer, as well as the exhibitions Photo Portraits and In India. In 1994, he was presented with ICP’s Infinity Award for Master of Photography. We feel extremely fortunate to be once again honoring this legendary photographer and for being selected as the only venue outside of Paris for this historic exhibition." Accompanying the exhibition will be a catalogue reproducing all images chosen by Cartier-Bresson for his scrapbook as well as his correspondence and historical documents. The catalogue is co-published by Thames & Hudson and the Fondation Henri Cartier-Bresson, Paris, and includes essays by Martine Franck, Agnès Sire, and Michel Frizot. This exhibition was curated and organized by the Fondation Henri Cartier-Bresson, Paris. The International Center of Photography presentation is supported by Air France, Saint-Gobain Corporation, Fred and Stephanie Shuman, Frank and Mary Ann Arisman, Andrew and Marina Lewin, and Sanford Luger and Ellen Samuel.