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May 23, 2007

Two Million ArtRage Downloads

Archive - ArtRage: the sucess of the free graphic software

In May 2007 the total number of downloads of ArtRage - Ambient Design’s free painting application - exceeded two million copies. Since its release in February 2004 more than two million copies of the free version of ArtRage have been downloaded from Ambient Design’s website. Schools, hobbyists, artists and anyone who just wants to mess around with paint have been downloading and using ArtRage Free version.

There have been several major updates to ArtRage Free since its initial release. "This is a fantastic milestone. We’re very pleased so many people have been enjoying using ArtRage. The quality of some of the artworks we’ve seen produced in ArtRage Free version is stunning. We’ve had great feedback from people who became disillusioned with the cost and hassle of using traditional art media but have started painting again in ArtRage." - Andy Bearsley, Technical Director of Ambient Design Ltd.

ArtRage Free version is a fully-featured natural painting application. It has tools which look and feel like their real-world counterpart. For example, the oil paints mix and smear like real oil paints on real canvas. They even leave bristle marks from the virtual brush in the paint strokes. It is easy to use for new users while having features and technology powerful enough for advanced users. The Free version of ArtRage is free to use with no time limits. It is also has no adware, spyware or other malware. It is available in English, French and German versions, for Windows and as a Universal Binary for MacOSX.

Updated Post / Archive

May 16, 2007

SilverFast 6.5 Automatic IT8-Calibration


The latest SilverFast v6.5 by LaserSoft Imaging now includes the automatic IT8- calibration that ensures better color correctness of the scanner.

Both the ambitious amateur and the professional photographer as well as media service providers are immediately able to use the new function and to optimise the color correctness of their scanner - by merely two mouse clicks.

Once the (reflective or transparent) LaserSoft Imaging IT8-target is placed on the scanner, it only takes a single mouse click to start the process. Even if the target was not properly aligned on the scanner: the automatic frame alignment and rotation function will resolve the issue. The target is overlayed with a measuring grid and the corresponding reference data file is identified by means of the integrated barcode (patented procedure). This file contains the exact values of each color field on the target, followed by the calculation and creation of the ICC profile - the entire process is automatic and ends with the confirmation of the successful calibration.

This automatic IT8-Calibration function is available in all 6.5.0r6 (or later) SilverFast Studio versions SilverFast Ai, HDR and DCPro can be optionally upgraded.

May 15, 2007

National Art Gallery Singapore: Architectural Design competition shortlist

Five teams of architectural firms have been shortlisted for Stage II of the architectural design competition for Singapore’s National Art Gallery. The new National Art Gallery is proposed to be housed in two historic buildings in the heart of Singapore’s Civic District – City Hall and the former Supreme Court building. 
The competition, organised by the Ministry of Information, Communications and the Arts in association with the Singapore Institute of Architects, drew 111 entries from 29 countries worldwide. The entries are about equally divided among the following three regions: 
- Europe and North America, 
- Asia-Pacific (excluding Singapore), and 
- Singapore. 

Judging Process of the architectural design competition for Singapore’s National Art Gallery
The international jury panel of experts for this competition is chaired by Professor Tommy Koh, Singapore’s Ambassador-at-Large. The 7-member panel met in Singapore from 25- 27 April 2007. Over the three-day period, the 111 entries were reviewed based on their ability to demonstrate an understanding of the opportunities and constraints of the site and the buildings; the historical, urban and social context of the Gallery; and an appreciation of the future role the Gallery will play in the Civic District and in Singapore’s cultural landscape. 
Entries at Stage 1 were submitted and judged anonymously, identified only by a computer-generated identification number. Details including the competitors’ past experience and track record were revealed to the jury only after the shortlist had been agreed to.  

The Shortlist
The five shortlisted design teams are (in alphabetical order)
- Chan Sau Yan Associates, in collaboration with Lekker Design, Singapore
- DP Architects, Singapore
- Ho + Hou Studio Architects, Taiwan
- Smart Design Studio, Australia 
- Studio Milou Architecture, France 

In response to this, Professor Tommy Koh said, “The jury was pleased with the outcome. The Stage 1 judging was conducted ‘blind’, so it was gratifying to see that the five shortlisted firms represented a good geographical spread - two Singaporean firms and one each from France, Australia and Taiwan. Their proposed schemes showed great potential to be developed further into feasible design solutions for the new National Art Gallery. Also, each competitor will bring a unique range of artistic and cultural insights to the Stage II of the competition. We look forward to seeing what the five competitors have to offer, in helping us build an iconic National Art Gallery that will propel Singapore forward as a global city for the arts."   

Next Milestone for Shortlisted Firms
The five shortlisted teams will now proceed to Stage II of the competition, which kicks off on 14 May. Within a span of three months, the design teams will be tasked to develop their initial concept into feasible design solutions for the new National Art Gallery. The teams will meet with a Technical Advisory Group, comprising representatives from Singapore’s Preservation of Monuments Board, National Heritage Board, Urban Redevelopment Authority, Land Transport Authority and the Ministry of Information, Communications and the Arts. They will visit the existing museums under the wings of the National Heritage Board, as well as the Heritage Conservation Centre.  They will also be given more information on site conditions and authorities’ requirements, and a more detailed design brief.  

The submission deadline for Stage II is 3 August 2007. The jury panel will meet again in Singapore at the end of August, when the finalists will present their schemes to the jury panel. The jury will select the three winners. 

About the Jury Panel of the architectural design competition for Singapore’s National Art Gallery
In addition to the Chairman, Professor Tommy Koh, the jury panel consists of the following six members:  
Cheong-Chua Koon Hean
CEO, Urban Redevelopment Authority, Singapore
Mrs Cheong, an architect and urban planner, has extensive experience in strateplanning as well as in urban design and conservation of built heritage. She is Deputy Secretary (Special Duties) in the Ministry of National Development. 
Jean-Francois Jarrige
President, Guimet Musée National des Arts Asiatiques
In addition to being the Director of Guimet Museum  since 1986, Jean-Francois Jarriage is concurrently a member of the National Council of Scientific Research and Director of the French Archaeological Mission to Pakistan, where he has carried out excavations since 1963. 
Koh Seow Chuan
Chairman, Singapore Art Museum and Board Member of the National Heritage Board
Koh Seow Chuan is the retired founder of DP Architects. He is a prominent art collector and was a key figure in the landmark arts development, The Esplanade – Theatres on the Bay.
Julian Raby Director, Freer Gallery of Art & Arthur M Sackler Gallery, Smithsonian Institution
Julian Raby had been Director of the Freer and Sackler galleries since 2002. He is a well-known scholar of Islamic art and is equally well-versed in Oriental Studies.
Rita Soh
Immediate Past President, Singapore Institute of Architects
Ms Rita Soh was the President of the Singapore Institute of Architects from 2004 – 2007. She has been instrumental in establishing a Blueprint for the architectural profession in its pursuit of Architectural Excellence as well as a Pro-Enterprise approach to architecture. 
Peter Wilson Project Director, Royal Shakespeare Company Transformation Project
Peter Wilson is currently Project Director for a £100 million redevelopment project of the famous Royal Shakespeare Theatre at Stratford-upon-Avon, UK. He also played a key role in the development of the Tate as building project director for both the Tate Modern and the Tate Britain Centenary Development.  

Source:  MICA - Ministry of Information, Communications and the Arts of Singapore. 

Next related posts
- Top 3 winning designs for the NAG Singapore architecture, August 2007
- Appointment of Architect for Singapore’s National Art Gallery, May 2008
- Strategic directions set for National Art Gallery, Singapore, March 2009

May 11, 2007

OKI Printing Solutions progresse significativement sur le marche de l’ impression laser couleur

Alors que la millionième imprimante couleur sort de ses usines, le constructeur japonais se place en 2006 au 2ème rang sur le marché mondial de l’impression laser couleur professionnelle (source IDC 2006 Q4).

Autres résultats communiqués par IDC : OKI Printing Solutions se positionne en France au 4ème rang des constructeurs sur les imprimantes laser couleur tous segments confondus. Il atteint la 2ème position pour le segment A3, cette percée significative confirmant l’excellent positionnement de la dernière-née des imprimantes A3 OKI, la C8600, lancée sur le marché en novembre dernier.

En parallèle à ces résultats prometteurs pour l’année 2007, OKI Printing Solutions, annonce également avoir atteint le million d’imprimantes couleur LED conçues au sein de ses usines.

Cette millionième imprimante couleur – l’imprimante A4 C3400 – est sortie de l’usine thaïlandaise d’OKI Printing Solutions, aujourd’hui à l’origine de 47% de la production mondiale du constructeur.

Cet événement constitue l’un des facteurs qui explique la progression du groupe au 2ème rang mondial des imprimantes laser couleur sur le marché des entreprises sur l’ensemble de l’année 2006 (source IDC 2006 Q4).

Ce résultat exceptionnel s’explique notamment par une croissance avoisinant les 20% sur le segment des +10 ppm, chiffre qui augmente chaque année depuis ces 4 dernières années (source IDC). Grâce à sa technologie LED monopasse, OKI Printing Solutions a réussi à s’imposer au 2ème rang mondial sur ce segment très porteur, ce dont témoigne le succès mondial des séries C5000, première imprimantes couleur +10 ppm à moins de 1000,00 € commercialisées en France en 2003. OKI Printing Solutions occupe également la 2ème place en France sur ce même segment avec 14.1 % des parts de marché.

Parallèlement à la production de ce million d’imprimantes couleur, OKI Printing Solutions a également fabriqué 7 millions d’unités monochromes, 22 millions d’imprimantes matricielles et plus de 100 millions de rubans pour ces imprimantes. « Un résultat significatif, si l’on rappelle que OKI adresse uniquement le marché des entreprises », commente Mikihiko Maeno, Président Directeur Général d’OKI Data Corporation.

Il ajoute : « En 2006, nous avons étendu notre production avec de nouvelles usines en Asie et en Amérique centrale, afin de pouvoir répondre à une croissance considérable de 600% des ventes de produits couleur depuis ces trois dernières années. Et nous allons poursuivre cette extension avec de nouvelles implantations au cours de l’année 2007 ».

OKI Printing Solutions a par ailleurs pour objectif de renforcer sa gamme de produits avec cette année le lancement de nouveaux produits couleur basés sur la technologie High Definition Color.

www.oki.fr
Oki Printing Solutions - Communiqué de presse - 11.05.2007

May 8, 2007

Imprimante Canon SELPHY CP740

Caractéristiques techniques détaillées de l'imprimante photo compacte Canon Selphi CP740
SYSTEME D'IMPRESSION
Méthode : Système d'impression par sublimation thermique
Résolution : 300 x 300 dpi
Couleurs : 3 couleurs et couche de protection, 256 niveaux par couleur (profondeur de couleurs sur 24 bits)
SUPPORTS ET CARTOUCHES
Carte postale : 148 x 100 mm - [KP-36IP, KP-72IP, KP-108IP]
Grand format : 100 x 200 mm - [KW-24IP] (1)
Format L : 119 x 89 mm - [KL-36IP] (1)
Carte de visite : 86 x 54 mm - [KC-36IP] (1)
Étiquettes format carte de visite : 86 x 54 mm - [KC-18IF] (1)
Mini-autocollants : 22 x 17,3 mm (8 autocollants sur une même feuille) - [KC-18IL] (1)
Cartouche d'encre : Fournie avec le papier
Durée de vie des images : 100 ans (6)
CHARGEMENT : Alimentation automatique depuis la cassette papier
VITESSES D'IMPRESSION
Carte postale : Environ 58 sec. (4)
Grand format : Environ 73 sec. (4)
Format L : Environ 50 sec. (4)
Carte de visite : Environ 31 sec. (4)
Etiquettes format carte de visite : Environ 31 sec. (4)
Mini-autocollants : Environ 31 sec. (4)
IMPRESSION - Modes d'impression : Impression de toutes les images (2), impression sans marge, impression avec marge, impression de la date (2), impression DPOF (2), impression du nom du fichier (2), format défini (2), impression photo CV (2), optimisation d'image (2), impression vidéo (2), correction des yeux rouges (2), impression d'une seule image (2), impression avec mise en pages (2, 4 ou 8 images) (2), impression d'index
METHODE D'IMPRESSION
Impression directe depuis un appareil photo : Compatibilité Canon Direct Print, compatibilité PictBridge
Impression directe depuis une carte : Types de cartes mémoire compatibles : carte Compact Flash, Memory Stick, Memory Stick PRO, Memory Stick PRO Duo, Memory Stick DUO, Microdrive, carte miniSD, carte mémoire mini SDHC, carte MultimediaCard, Multimedia Card plus, Multimedia Card mobile, carte mémoire SD, carte mémoire SDHC, RS-MMC, carte mémoire microSD (5), carte mémoire microSDHC (5), Multimedia Card micro (5), Memory stick micro (5), carte xD-Picture (5)
Impression directe depuis un téléphone portable avec appareil photo intégré : Adaptateur Bluetooth BU-20 disponible en option (impression depuis certains téléphones portables avec appareil photo intégré et PDA) (7)
Impression depuis un ordinateur : Oui, nécessite un câble USB standard
INTERFACE
Appareil photo : Câble USB intégré (Mini-B), port USB de type A sur imprimante, WiFi IEEE 802.11b (avec Digital IXUS WIRELESS et adaptateur d'impression sans fil WA-1E)
Ordinateur : Port USB de type B sur l'imprimante
Ecran LCD couleur 2 pouces avec interface utilisateur graphique
SYSTEME D'EXPLOITATION
PC : Windows 2000 SP4 / XP (SP1-2) / Vista
Macintosh : Mac OS X v10.3 - v10.4
LOGICIELS
Gestion des images et impression : PC : ZoomBrowser EX, Easy-PhotoPrint, PhotoStitch, EOS Utility -- Mac : ImageBrowser, PhotoStitch, EOS Utility
Pilotes : PC / Mac
ALIMENTATION
Alimentation secteur : Oui, fournie
Consommation : Environ 4 W (veille), environ 60 W (impression)
ACCESSOIRES
Sacoche de transport pour imprimante DCC-CP1
Cassette papier format carte postale [PCP-CP200], cassette papier grand format [PCW-CP100], cassette papier format L [PCL-CP200], cassette papier format carte de visite [PCC-CP100]
Alimentation et chargeur de batterie : Adaptateur CA-CP200
Unité Bluetooth BU-20 pour l'impression depuis les téléphones portables avec appareil photo intégré et les PDA compatibles (7)
CARACTÉRISTIQUES PHYSIQUES
Environnement de fonctionnement : 5 – 40 °C, 20 – 80% d'humidité
Dimensions : 179 x 127,1 x 63 mm
Poids : 940 g (hors cassette papier et cartouches d'encre)
NOTES
(1) Nécessite une cassette papier en option.
(2) Les modes/fonctions disponibles peuvent varier selon le modèle de l'appareil ou l'utilisation de la carte mémoire pour impression.
(3) Les photos doivent être prises au format JPEG et transférées selon le protocole IrOBEX.(4) La vitesse d'impression peut varier en fonction de la quantité de données, de la méthode d'impression et de la carte mémoire.
(5) Nécessite un adaptateur (vendu séparément).
(6) Pour tester la durée de vie des tirages imprimés et archivés dans un album, Canon utilise la méthode de test accéléré dans des conditions de stockage équivalentes à des tirages argentiques conservés dans des lieux sombres. Des échantillons sont imprimés avec une densité optique de 1 (avec les encres noire, cyan, magenta et jaune). Ces échantillons sont conservés dans des conditions de fortes températures et d'hygrométrie de 50%. Les taux de baisse de la densité et de décoloration du jaune sont enregistrés. Les résultats enregistrés sont ensuite convertis sur la durée dans des conditions de conservation de l'image à 23°C/50% d'humidité. Critère pour l'estimation de la longévité des tirages : le point pour lequel la densité optique monochromatique / réfléchissante montre une perte de 30% par rapport à la densité de départ égale à 1.
(7) Les téléphones portables et assistants personnels doivent être équipés de la fonction Bluetooth et prendre en charge l'impression photo Bluetooth version 1.1 ou ultérieure. Les photos doivent être au format JPEG.
(8) 21 langues sont prises en charge : anglais, allemand, français, néerlandais, danois, finnois, italien, norvégien, suédois, espagnol, russe, portugais, hongrois, polonais, tchèque, grec, turc, chinois, chinois simplifié, coréen et le japonais.
Toutes les données sont basées sur les méthodes de test standard Canon. Elles peuvent être modifiées sans préavis. Copyright : Toutes ses informations ainsi que la photo d'illustration ont été fournies par Canon. Tous droits réservés.

May 7, 2007

AP Images distribute Ebony and Jet Photos

Johnson Publishing Company, Inc. (JPC) has chosen the AP Images division of the Associated Press to distribute content from EBONY and JET magazines’ extensive archive of photography. The archive is considered one of the most definitive collections of visual content depicting the lives of blacks in America and around the globe.
JPC has remained the world's largest African-American-owned publishing company for more than 60 years. The first issue of its cornerstone publication, EBONY magazine, hit newsstands in 1945. Jet Magazine, the No. 1 newsweekly for African-Americans, was first published in 1951.
“Thousands of poignant images have been featured in the pages of EBONY and JET magazines, chronicling the black American experience like no other,” said Johnson Publishing Co. President and CEO Linda Johnson Rice. "We are pleased to share this wealth of visual history to remind some and to educate others about the rich contributions of blacks in America and the events that changed the face of this country and beyond."
AP Images, with 3.5 million photos, is one of the world's largest collections of historical and contemporary imagery.
"When you consider the depth of AP's photo archive and the breadth of EBONY and JET magazines' definitive pictorial history of black America, this distribution arrangement brings unparalleled content to the picture-buying public," said AP Images Vice President Ian Cameron.
AP President and CEO Tom Curley announced the partnership at the AP Annual Meeting in New York.
ABOUT JOHNSON PUBLISHING CO. - Johnson Publishing Company, Inc., founded in 1942 by the late media pioneer John H. Johnson, is the world's largest African-American-owned and-operated publishing company. The company, headed by President and CEO Linda Johnson Rice, has established businesses in publishing, cosmetics, television production and fashion, including EBONY and JET magazines, Ebony Fashion Fair and Fashion Fair Cosmetics. Eunice W. Johnson is secretary-treasurer.

Other posts on this blog about AP Images

Last Update: 08.12.2008

May 5, 2007

Introduction to Photographic Light

Steven Biver, Fil Hunter, Paul Fuqua, Light: Science and Magic. An Introduction to Photographic Lighting, Focal Press, 3rd edition, 2007, 320 p.
An amazing (and some would say magical) resource on photographic lighting that has been talked about in the community and recommended for years. This highly respected guide has been thoroughly updated and revised for content and design - it is now produced in full color! It introduces a logical theory of photographic lighting so if you are starting out in photography you will learn how to predict results before setting up lights. This is not primarily a how-to book with only set examples for you to copy. Rather, Light: Science and Magic provides you with a comprehensive theory of the nature and principles of light to allow you to use lighting to express your own creativity.
Steven Biver, Virginia, USA, Commercial photographer, former clients include Adobe, Mobil, Newsweek, Black and Decker
Paul Fuqua, Virginia, USA, started his own audiovisual production company in 1970. Dedicated to teaching through visuals, he has written and produced educational and training material in a variety of fields, including law, science, and nature. His photography takes him all over the world, but he makes his home in Arlington, VA.
Fil Hunter is a highly respected commercial photographer specializing in still life and special effects photographs for advertising and editorial illustration. During a career spanning over three decades, he has worked for such clients as America Online, US News, Time-Life Books, Life Magazine (27 covers), the National Science Foundation, and National Geographic. He has taught photography at the university level and has served as technical consultant on a number of photographic publications. Mr. Hunter has won the Virginia Professional Photographer's GraPhotographic Award three times. He lives in Alexandria, VA.

Related post : Lighting Techniques for Middle Key Portrait Photography

Book Cover (c) 2007 - Focal Press - All rights reserved

May 1, 2007

Ignacio Pardo: Senescencia at CGAC

 

IGNACIO PARDO

SENESCENCIA

Centro Galego de Arte Contemporanea

 

A pair of pupils, a woman’s breasts, wanderers on a beach, and musical instruments – these are the protagonist icons in the work of video artist Ignacio Pardo (Lugo, 1947). Simple iconography, though derived from richness in its formal use as well as in expressive aspects. Senescencia: Ignacio Pardo, the exhibition organized by the CGAC and curated by Cristina Prego, will gather the video artist’s production since the 1980s, and a new work will be completed in situ for the Center. 

Ignacio Pardo’s utilization of video as a means of expression, his objects of visual desire, and his personal option when it comes to facing the world of art have forced his works to stay, since the 80s, on the margins of exhibition circuits. However, despite the fact that he is currently a docent, Ignacio Pardo has not stopped experimenting with the camera, to which he attached himself (artistically speaking) in the times of the Super 8 in the 1960s. Loyal to an undoubtedly personal aesthetic, Pardo, who takes his influence from the historical avant-garde models, tends towards extravagance, shadows, and the apparently occult.

Senescencia: Ignacio Pardo will take us along the continuous line, up to the present, of the artistic production that began in the 1980s when the artist adopted video as a means of creation and began making up his own rules. After early theoretical efforts in the 1960s, when the role of video in art was conceptually and historically analyzed, and after its marginalization in the 1970s in favor of a pictorial resurgence, it was in the 1980s that video advanced into multimedia territory and appeared on the international scene, often associated with music. Singular in this context, the experimental works of Ignacio Pardo are represented with the piece Parpadeo from the exhibit La imagen sublime (1987), promoted by the museum Reina Sofía and curated by Manuel Palacio, together with standard video artists such as Antoni Muntadas and Carles Pujol; occasional artists, like El Hortelano and Juan Navarro Baldeweg, and apprentices of the unpredictable future like Xavier Villaverde and Anton Reixa. In those years, Ignacio Pardo won the Certamen Nacional de Video in Vitoria (1986) and was present at ARCO (1988-89), as well as at other international events such as the Documenta de Kassel and the Sao Paulo Biennial.

Later, his work was included in the show Senales de Video (which was curated by Eugeni Bonet in 1995 for the Reina Sofía, and which traveled to other Spanish centers) and in Novos Caminos: Ameazas y promesas da arte electronica (Casa das Artes, Vigo, 1998). Eroticism and new technologies joined together in Igncio Pardo’s works in the 90s, and he became considered one of the country’s pioneers in digital animation with works like Ninfografia (1992). In recent years, Ignacio Pardo has used 3D animation to alter scenes in works like Paseantes (2003), in his obsession with affirming that darkness and death, can, at any moment, break with the fragility of life. At the CGAC, we can also see recent works such as Vientre, Agua, y Fuego, created in 2007.

This exhibition is a unique opportunity to examine the career path of one of the pioneers of video art in Galicia who, as the exhibit’s title suggests, redefines concepts like darkness, aging, and the anguish of life with his images. In conjunction with the exhibition, a catalog will be published, including texts from curator Cristina Prego, CGAC director Manuel Olveira, and specialist in Spanish video art Eugeni Bonet. 

 

Senescencia: Ignacio Pardo
May 3 - July 1, 2007

Centro Galego de Arte Contemporanea
Galician Center for Contemporary Art

Valle Inclan s/n - 15704 Santiago de Compostela

Updated Post