Wanafoto, Art & Imaging Blogzine - Webzine


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

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


July 25, 2008

Océ PRISMAaccess logiciel de gestion d' impression

PRISMAaccess d' Océ est un logiciel de gestion d’impression destiné à accélérer les flux de travaux tout en donnant un aperçu très clair du statut des travaux d’impression
Ce logiciel de gestion de flux de travaux comporte divers outils destinés à simplifier le processus d'impression et à le rendre le plus fiable possible. La conception du logiciel permet aux clients de soumettre leur travail d'impression à partir de leurs station de travail desktop. L'écran d'acceptation sur le site de production permet un monitorage et un contrôle utilisateur aisé du flux de travail. Il a été conçu de manière à permettre aux opérateurs de travailler plus intuitivement et plus rapidement. De plus, Océ PRISMAaccess, qui repose entièrement sur un flux de travail PDF ouvert, permet de produire indépendamment de l'imprimante et d'archiver en vue d'une réimpression.
L'ajout modulaire d' Océ PRISMAprepare permet quant à lui de disposer d'une fonctionnalité Makeready pour les documents analogiques et numériques.
PRISMAaccess est fondé sur la technologie Océ Doc Works reconnue pour sa performance et qui compte plus de 1000 installations sur divers sites à travers le monde.
A propos d'Océ
Pour plus d'informations, consultez le site internet d'Océ : www.oce.com
Photo (c) Océ - Tous droits réservés

July 24, 2008

PictoColor Releases CorrectPhoto 3.1

PictoColor announces the release of CorrectPhoto 3.1, its popular easy to use digital photo editor

CorrectPhoto 3.1 features PictoColor's OneClick Color technology that instantly gives every digital photo the color of life or creates a stunning black and white or sepia tone picture. With just one click, anyone can remove an unwanted color cast, improve the exposure and increase the vibrancy of all of their digital pictures. And, with a single click a color photo can be instantly turned into black and white or sepia tone picture.
Plus, with its collection of other essential photo tools such as rotation, cropping, cropping to standard print sizes, resizing, removing red-eye, and sharpening, CorrectPhoto helps users turn average snapshots into great photos in seconds.
CorrectPhoto takes the guess work out of color correction with PictoColor's OneClick Color technology, the point-and-click color technology that really works. OneClick Color automatically corrects the white balance, exposure, and saturation. In addition to its automatic color correction capabilities, CorrectPhoto provides separate controls for manually adjusting brightness and contrast, independently adjusting shadows and highlights, and quickly adjusting the saturation. New to version 3.1 is the ability to create stunning black and white and sepia tone photos with a single mouse click. Designed for Windows XP and Vista users, CorrectPhoto’s built in Windows Explorer provides direct access to Windows file management system for easy photo management and archiving
CorrectPhoto is an extremely easy-to-use program that really simplifies working with digital photos. It is especially useful for beginners and those who do not want to spend a lot of time editing photos or learning a complicated photo editing program,” said Craig Huelskoetter, president.
Our OneClick Color technology is by far our fastest, easiest, and most automatic color correction tool. Now, photo enthusiasts and home users can get the same professional results with an easy-to-use stand-alone program. Plus, with its integrated Windows Explorer, it’s like having our advanced color technology built right into the operating system. Whether users plan to share their web galleries with family and friends, order prints from an online photo service, create stunning scrapbooks or DVDs, or just save them in their personal archives, CorrectPhoto will save them hours and help them take their digital photos further.”
CorrectPhoto can be easily customized for private label use by photo retailers, online photo services, web galleries and other interactive digital photo applications including direct web links for express uploads and other brand building services.
More information and free trial version: http://www.correctphoto.com/

July 23, 2008

iF concept award 2009

PRESS RELEASE
Hannover, July 23, 2008
iF concept award 2009 – the international competition for up-and-coming talent is launched
Starting immediately, students in the fields of design, architecture, marketing and engineering from all over the world are invited to submit their innovative, trend-setting ideas and concepts in the competition for an iF concept award 2009.
Entries in six categories can be submitted free of charge in this international competition for new talent up until January 5, 2009. The event is organized by iF International Forum Design GmbH, Hannover, on an annual basis:
1. time to market
2. industrial design
3. fashion
4. communication design / multimedia design
5. architecture / interior design
6. universal design
The projects entered must not be more than two years old and must have been completed during the student's study time. Entries can be made by individuals as well as by groups. Young professionals are invited to participate up to two years after having completed their degree.
An independent, international jury of experts will select the "Best 100" of all the entries in an open session during the CeBIT Show on March 3, 2009. Outstanding entries will be rewarded with prize monies totalling € 30,000, provided, among others, by GOLD Sponsor Samsung Electronics (Seoul).
The outstanding up-and-coming designers will be officially honoured at the "design: driving innovation" special display booth on CeBIT Saturday, March 7, 2009. All the entries will also be on display there for the duration of the CeBIT Show.
Projects can be registered for the iF concept award 2009 free of charge starting immediately at http://www.ifdesign.de/ (Awards and Projects).

July 21, 2008

Panasonic annonce le DMC-FZ28, un bridge a zoom puissant




Le bridge Panasonic Lumix DMC-FZ28 est équipé d'un objectif grand-angle Leica DC VARIO-ELMARIT 27mm à zoom optique 18x*. Nouveau venu dans la populaire série FZ à zoom puissant, le FZ28 offre une résolution de 10,1 mégapixels à laquelle s'ajoutent d'autres fonctionnalités avancées comme les modes manuels ou, le mode IA (Intelligent Automatique) qui facilite la prise de vue.
Un objectif Leica DC grand-angle de 27mm lumineux (f/2,8) et un puissant zoom optique 18X dans un boitier compact

Le DMC-FZ28 est équipé d’un objectif LEICA DC VARIO-ELMARIT grand-angle lumineux (f/2,8-4,4) et d’un puissant zoom optique 18x* ainsi que d’un capteur CCD de 10,1 mégapixels, le tout dans un boitier compact. Grâce à son puissant zoom, le FZ28 s'avère l'appareil photo le mieux adapté pour prendre un large paysage aussi bien qu’un gros plan d'un sujet lointain. Ce zoom puissant fonctionne aussi pendant l'enregistrement de film. De plus, la fonction Extra zoom** utilise la partie centrale du CCD pour donner un grossissement supplémentaire permettant une puissance de zoom jusqu'à 32x.
* équivalent sur un appareil classique 35 mm : 27-486 mm ** en mode de résolution 3 mégapixels
Le FZ28 reprend et enrichit le mode Manuel particulièrement apprécié des passionnés de photographie. Les commandes manuelles du FZ28 sont plus évoluées que celles des modèles précédents et la disposition des commandes a été améliorée pour rendre les réglages et la navigation plus intuitive. La mise au point manuelle est simplifiée par l'utilisation d’un joystick. Il est possible de basculer instantanément entre la mise au point manuelle et l'autofocus grâce au bouton indépendant AF/MF. 

Mode Intelligent Automatique 

Grâce au mode Intelligent Automatique (IA), le DMC-FZ28 peut saisir de belles photos sans que l’utilisateur ait à se soucier des réglages. Avec la toute nouvelle fonction IA de Suivi Autofocus, l'utilisateur peut verrouiller la mise au point sur un sujet en mouvement. Le FZ28 suit alors automatiquement la cible et s’adapte. Le mode Intelligent Automatique inclut plusieurs autres fonctions d'assistance à la prise de vue dont :
  • Le stabilisateur optique Mega O.I.S. qui corrige les tremblements de la main
  • L’ISO Intelligent Control qui prévient les flous de l’image dus au mouvement du sujet
  • Le sélecteur de scène intelligent qui choisit automatiquement le mode « scène » approprié parmi les modes les plus fréquemment utilisés : portrait, paysage, macro, portrait de nuit et paysage de nuit
  • Le système de détection des visages peut repérer jusqu'à 15 visages dans le cadre et règle la mise au point et l'exposition pour capturer une image claire avec une mise au point nette même si la personne est de profil.
La fonction d'Exposition Intelligente supprime les ombres denses et les zones surexposées. Le FZ28 surveille en continu la source lumineuse et active automatiquement la fonction de compensation du contre-jour si besoin.

La correction numérique des yeux rouges

L'utilisateur bénéficie de l'ensemble de ces fonctions pratiques d'assistance à la prise de vue en activant simplement le mode IA. Le FZ28 allie ainsi performances et polyvalence.

Des modes Scène avancés simples a utiliser

La série Lumix FZ, qui intègre des zooms très puissants dans des boîtiers compacts, offre aux utilisateurs tout ce qu'il leur faut pour explorer les aspects les plus créatifs de la photographie. La gamme FZ est équipée d'un joystick très apprécié des utilisateurs, qui permet des réglages manuels faciles et rapides.

Le mode Scène avancé du FZ28 offre encore plus de liberté. Il dispose de 5 modes scène – Portrait, Sports, Paysage, Paysage de nuit et un nouveau mode Macro permettant des réglages précis pour des prises de vue très rapprochées (1cm à peine).

En choisissant l’option Priorité ouverture du mode Macro, l'utilisateur peut obtenir un cliché sur un fond en flou artistique. Avec les nouveaux modes scène du FZ28, l'utilisateur a le choix entre cinq modes Portrait, quatre mode Paysage, quatre modes Sport, quatre modes Portrait de nuit et quatre nouveaux modes Macro. En plus des 16 modes scène ordinaires, le photographe peut donc choisir parmi un total de 37 modes scène afin d’obtenir le résultat escompté. Le nouveau DMC-FZ28 inclut une série de fonctionnalités simplifiant la prise de vues. Les 37 modes scène du FZ28 répondent à toutes (ou presque) les situations de prise de vue. De nouveaux modes scènes ont été intégrés :
– Le mode Piqué et Grain qui ajoutent aux images des effets et ambiances uniques à la façon d’un appareil photo à film.
– Le mode Transformation qui rogne et étire une image pour en transformer virtuellement le sujet en le rendant plus mince ou plus large. Il dispose aussi d'un effet brillant pour accentuer et rendre plus amusante la transformation large.

Le résultat final de ces effets peut être vu directement sur le LCD avant de prendre le cliché. 

Un mode rafale rapide 

Dans le mode rapide de photos en rafales, le FZ28 atteint une vitesse de 13 clichés par seconde*. Quant au nouveau mode Rafales avec flash**, il permet des prises de vue avec une émission de flash en continu jusqu’à ce que la carte mémoire soit pleine***. Dans le mode prises de vue en rafale, le DMC-FZ28 peut prendre 2,5 photos par seconde en pleine résolution****.

Notes : * En mode vitesse prioritaire ; 13 ips en enregistrement 2-mégapixels (16:9), 12 ips en enregistrement 2,5mégapixels (3:2), et 11 ips en enregistrement 3 mégapixels (16:9). **Max. 5 images en enregistrement 3-mégapixels (4:3), 2,5 mégapixels (3:2),et 2 mégapixels (16:9). ***La vitesse de prise de vue en continu varie selon la carte mémoire, la taille de l'image et le mode de compression de l'image. Le nombre de prises de vue dépend de la carte mémoire, de la taille de l'image et du mode de compression de l'image. ****Max. de 5 images en mode standard/3 images en mode fin. 

Processeur Venus Engine IV : un traitement d'image LSI à réponse rapide 

Le nouveau processeur d'images LSI, Venus Engine IV, exploite une technologie de traitement du signal plus perfectionné, pour obtenir des images magnifique avec un bruit minimal. Cette technique permet non seulement d’apporter une meilleure définition aux images dans les sensibilités ISO élevées, mais également de reproduire fidèlement les détails dans les zones peu éclairées des photos prises à faible sensibilité ISO. Les capacités de traitement d'image en multitâche assurent également au Venus Engine IV un temps de réponse exceptionnel. Le temps de déclenchement n'est que d'environ 0.006 seconde, facilitant les prises de vue spontanée. Le Venus Engine IV intègre également un mode Haute Sensibilité qui permet au Lumix DMC-FZ28 de prendre des photos jusqu'à 6400 ISO* pour prendre des sujets dans une obscurité presque totale. Ce moteur haute performance bénéficie aussi d'une meilleure efficacité énergétique, pour une plus grande autonomie qui peut permettre jusqu'à 450 prises de vue (CIPA) sans recharger la batterie. Les capacités de traitement d'image en multitâche assurent également au Venus Engine IV un temps de réponse exceptionnel. Le temps de déclenchement n'est que d'environ 0.006 secondes. La rapidité de réponse de l'appareil facilite les prises de vue soudaines sous l'inspiration du moment. 

Note : * en enregistrement 3 mégapixels (4:3), 2,5mégapixels (3:2), et 2 mégapixels (16:9).

La haute définition en photographie 

Avec le DMC-FZ28, il est possible de photographier en haute résolution (1920x1080 pixels), idéal pour un visionnage en plein écran sur un téléviseur 16:9. Le mode vidéo du DMC-FZ28 enregistre également des films HD au format 1280x720 avec une fluidité de 20 images par seconde, ainsi qu’en WVGA (848 x 480) et VGA classique (640x 480), la qualité du son a également été améliorée.*/** Le zoom puissant 18x du DMX-FZ28 fonctionne également en mode vidéo permettant de saisir les scènes les plus éloignées. Le DMC-FZ28 propose également des diaporamas musicaux. Il suffit de choisir les photos et de sélectionner l'ambiance (naturelle, lente, citadine ou swing) qui correspond le mieux aux images. Résultat : un diaporama facile à réaliser et riche en émotions. 

Notes : *En mode film, la durée d'enregistrement dépend de la capacité de la carte mémoire SDHC/SD. En mode 30 images par seconde VGA, 30 images par secondes WGA ou sur HD (1280x720), il est recommandé d'utiliser une carte mémoire rapide avec la mention « 10Mo/s » ou plus sur l'emballage. Certains bruits de mouvement d'objectifs peuvent être enregistrés. **En Europe, les images filmées peuvent être enregistrées en continu pendant 15 minutes.

De nombreuses fonctions avancées pour enrichir ses photos

Le FZ28 est un appareil photo compact polyvalent, équipé d'un objectif grand angle, d'un zoom optique puissant et de nombreuses autres fonctionnalités avancées.

La nouvelle fonction « Nivellement d'image » permet de redresser une photo mal cadrée tout en rognant les bords inutiles (avec diminution de la résolution).

A noter également que le flash du FZ28 est plus puissant que celui de ses prédécesseurs et atteint une distance de 8,5 mètres pour le réglage large et 5,4 mètres pour le réglage téléobjectif (ISO AUTO). Il dispose de réglage de synchronisation sur le premier ou le deuxième rideau. Pour les photographes créatifs, le FZ28 inclut non seulement le bracketing sur l'exposition, mais aussi une nouvelle fonction bracketing sur les couleurs, qui permet d'enregistrer simultanément une version couleur, monochrome et sépia d'une même image. Les réglages de la balance des blancs on été étoffés et offre désormais un réglage par température de couleur.

Le DMC-FZ28 dispose d'une vaste gamme d'accessoires en option pour vous offrir de nouvelles possibilités de prise de vue comme un adaptateur qui autorise le montage d’un téléobjectif de coefficient 1,7X (équivalent à 826,2 mm sur un appareil classique 35 mm) et d’une lentille macro. Un filtre gris neutre et un nouveau filtre PL sont également disponibles.

Disponible en noir et argent à partir de septembre 2008

July 18, 2008

Stylus Pro printer range - Epson releases 16 bit drivers for Apple Macintosh OS X Leopard

Epson has released 16 bit printer drivers for its Epson Stylus Pro printer range, allowing users running the Apple® Macintosh® OS X Leopard operating system to achieve smoother colour gradations and greater image detail in their prints.
The highly precise 16-bit printer drivers allow Epson’s Stylus Pro printers to be integrated into a 16-bit workflow. More colour information is translated through to the printer as 16 bit processing traces the original image data with a higher frequency than 8 bit processing, enabling highly accurate colour transitions and gradations in all prints.
The diagrams illustrate the original image information on the red line and the 8 bit and 16 bit rendering of the data by the printer driver, with the greater depth of the 16 bit driver providing a more accurate matching of the original data. The result is that with 16 bit processing there are more steps from one extreme point to another - for example from black to white or from low to high saturation of a given colour - so there are more points at which the original data can be precisely matched. Epson’s 16-bit printer drivers take full advantage of Apple's OS X architecture and printing window, and are available for Epson’s Stylus Pro 3800, Stylus Pro 4880, Stylus Pro 7880, Stylus Pro 9880, and Stylus Pro 11880. They are compatible with virtually any application software for an end-to-end 16-bit workflow. The 16 bit drivers are available for free download from the Epson Pro Graphics web site.
http://www.epson.com/

July 17, 2008

Junji Takasago tient un atelier photo avec Transcend

TRANSCEND - COMMUNIQUE DE PRESSE - 17.07.2008
Transcend tient un atelier photographique avec Junji Takasago
Transcend vient de tenir son premier atelier photographique avec le photographe japonais Junji Takasago le 27 juin au Akihabara convention center de Tokyo. En raison du succès de cet atelier, 75 personnes ont été invitées au lieu des 40 initialement prévues.
Takasago est réputé pour la beauté des ses clichés de fonds sous-marins. Durant l’atelier Takasago a partagé son expérience avec les personnes invitées, qui ont également pu lui poser de nombreuses questions sur les techniques qu’il utilise, et sa vision de la photographie naturaliste. Takasago a aussi souligne l’intérêt grandissant que représente le stockage mémoire des photos: “Un des grands avantages de la photographie numérique est de pouvoir immédiatement contrôler les clichés qui viennent d’être pris. Avec une pellicule, le nombre de photos est limité, et il était impossible de changer sous l’eau de lentille ou de film. Auparavant, je devais économiser le nombre de films et ne prendre une photo que lorsque l’opportunité se présentait. Désormais, je peux prendre autant de photos que je souhaite."
Junji Takasago est né en 1962 à Miyagi au Japon. Il a notamment travaillé pour le magazine japonais "Diving World". En 1989, Junji Takasago décide de travailler en free-lance et se lance dans une série de projets photographiques ambitieux. Ses séries les plus réputées sont entre autres Free (1993), Aqua (1995), Life (1998), Why Sea Lions Laugh (2000) et Night Rainbow (2003). Takasago est aussi membre de la société de la faune sauvage océanique dont l’objectif est la préservation du milieu naturel marin.

July 15, 2008

Korean Overseas Adoptees' Photo Exhibition

“Our Space: Six Perspectives” Photo Exhibition at the Seoul Olympic Parktel - August 1-2, 2008 - is part of the Global Overseas Adoptees’ Link (G.O.A.’L) 10th Anniversary Conference. The exhibition of photos taken by overseas adopted Koreans who returned to their land of birth reveals insights into the shared sense of the familiar and unfamiliar that all adoptees encounter upon returning to Korea. As a “space,” Korea is depicted through landscapes, buildings, bridges, and through the people that inhabit and share this space together.
Lia Hyun-joo Barrett (USA) is a graduate of Parsons School of Design, Bachelors of Fine Arts in Photography and Eugene Lang College, Bachelors of Arts in Social and Historical Inquiry in New York. During her most recent visit to Korea, she started an ongoing project of photographing birthmothers with their children. She leaves the images on record with the adoption agency so that adoptees and birthmothers may retrieve the priceless records at a later time.
Todd Heckert (USA) is from Minneapolis, Minnesota and studied at the Minneapolis College of Art and Design. His photography series of bridges on the Han River represent both the river and the bridges that cross it as vital symbols of Seoul. Sand from the Han was used to make cement for buildings and other concrete structures – including the bridges in Heckert’s photos – during Korea's economic boom in the 1980s. What had been soil below the Han has become a vital part of what links the northern and southern parts of the city above.
Raphaël Bourgeois (Belgium) has been living in Korea since 2007. His photographs of peoples’ lives juxtapose common scenes within an uncommon context, revealing insight into the complexities of modern Korea. The familiarity of Namdaemun Gate, charred and burned, lies in the background with a homeless man sleeping in the foreground; a grandmother sits on the sidewalk surrounded by rows of young riot police, are some examples of Bourgeois’ ability to capture how individuals fit into shared experiences and spaces.
Eric Perriard (France) is a freelance professional photographer who has worked with UNESCO and had his work widely exhibited and published, including in Le Monde in France. He has traveled throughout the world documenting images. His work in Korea captures landscapes, beach sides, tombs, mountains, and the people who place themselves in everyday activities in those settings.
Kim Sperling (Germany) has created works consisting of photographs and interviews of fellow Korean adoptees that have returned from their adoptive countries to live in Korea. He started this project in order to better understand why so many adoptees have decided to return to their land of birth. His portraits show adoptees living in Korea in settings where they are “at home” – their apartments, places of work, and neighborhoods.
Aram Tanis (The Netherlands) has taken black and white photographs that create a portrait of Seoul, which through precise observation includes not only its topography but also reveals the structural elements of its society and economy. Tanis’ images of apartment blocks, expressways, and bridges embody the dynamism of a modern metropolis evoking the “New Seeing” and “New Objectivity” constructivist aesthetic. Tanis was adopted from Korea to the Netherlands and studied at De Ateliers in the Netherlands as well as at the Kaywon School of Art and Design in Korea.
G.O.A.'L is an adoptee-run registered non-governmental organization (NGO) and non-profit organization located in Seoul, Korea. Since 1998, G.O.A.’L has supported overseas adopted Koreans in accessing Korean by bridging barriers of language & culture and advocating for adoptee rights through lobbying the Korean government, providing adoptee-focused post-adoption services, organizing an annual conference addressing adoption issues, publishing a regular bi-lingual newsletter and coordinating public education, networking & social events. Website: http://www.goal.or.kr/

July 14, 2008

Moyen-Format Phase One P65+

PHASE ONE - PRESS RELEASE - 14.07.2008

Phase One Announces World’s First Full Frame 645 Medium Format Camera System, based on Breakthrough Sensor Technology

Phase One A/S today announced the P 65+ digital back and the P 65+ camera system based on Sensor+ CCD technology co-developed with DALSA Semiconductor. This patentpending, Sensor+ technology represents a significant advancement in image capture. The chip platform offers the most demanding photographers upgradeable CCD functions, ensuring a longer lifespan for their digital back investments.

Photographers need real reasons to upgrade past 39 Megapixel digital backs,” said Henrik Håkonsson, CEO of Phase One. “Real value includes higher resolution but also requires new functions, faster operation, higher quality through expanded sensitivity, increased dynamic range, better results in the studio or on location and a better longer-term investment. I believe we are able to achieve this and more with our Sensor+ technology.”

Improvements and upgrades based on Sensor+ technology have been designed to enable:
  • Scaleable pixel and file size
  • Higher sensitivity & dynamic range
  • Increased flexibility for operation and capture
  • Improved capture rates

The P 65+ digital back and the P 65+ camera system are fully upgradeable, based on advancements in the chip technology, providing a competitive advantage through enhanced performance and new functions as well as a lower overall cost of operation. Such improvements have previously been available only at the cost of new chips and hardware. The Phase One P 65+ is the first digital back and camera system to take advantage of the new Sensor+ design and is the world’s first fullframe capture system based on actual 645 film format. The P 65+ provides the largest live capture area available with coverage of 53.9mm x 40.4mm – enabling full viewfinder coverage thus no need for lens magnification. “What you see is what you get.” The P 65+ sensor format provides 20 percent more live area compared to 39 or 50 Megapixel, 48mm x 36mm chips currently delivering or announced. Sensor resolution is 60.5 Megapixel with 8984 x 6732 active pixels achieving 180 MB, 8 bit RGB files. In addition to offering the industry’s largest live capture area and highest resolution, the P 65+ offers captures at 1 frame per second, reduction of Moiré artifacts, next generation Lens+ & Focus+ technologies and an unprecedented 12.5 f-stops of dynamic range.

Pricing and Availability : More technical details and demonstrations of Sensor+ technology will be available at the Photokina trade show in September 2008. Camera shipments with P 65+ digital back are expected to begin in Q4 2008. The P 65+ digital back starts at $39,900; the P 65+ camera system starts at $41,990. Advance orders are available now. For more information please contact sales@phaseone.com
All other brand or product names are trademarks or registered trademarks of their respective holders.

July 10, 2008

Kodak Easyshare M1093 IS

KODAK - COMMUNIQUE DE PRESSE - 10.07.2008

Le nouvel appareil photo numérique KODAK EASYSHARE série M regroupe une multitude de fonctions dans un boîtier compact et élégant
Le stabilisateur d’image et la technologie Smart Capture produisent de superbes images d’une simple pression d’un bouton.
Paris, Juil. 10 -- La société Eastman Kodak Company dévoile le dernier-né des appareils photo numériques série M de la gamme KODAK EASYSHARE. L’appareil KODAK EASYSHARE M1093 IS est un appareil photo numérique élégant et extrêmement performant, qui séduira les utilisateurs soucieux de l’esthétique. Il offre des fonctions innovantes, telle la technologie Smart Capture de Kodak, qui effectue instantanément et automatiquement les réglages de l’appareil photo et produit des résultats exceptionnels dans quasiment toutes les situations.
« Le boîtier épuré de l’appareil photo numérique KODAK EASYSHARE M1093 IS abrite un concentré de performances qui permet de prendre de magnifiques photos », explique John Blake, directeur général de la division Digital Capture and Devices et vice-président d’Eastman Kodak Company. « La fonction Smart Capture disponible sur nos derniers modèles d’appareils photo numériques, y compris le M1093 IS, permet aux utilisateurs d’immortaliser leurs moments forts grâce à la commande intuitive et automatique de détection de scène et de réglage. »
Appareil photo numérique KODAK EASYSHARE M1093 IS
L’appareil photo numérique KODAK EASYSHARE M1093 IS est le dernier-né de la gamme EASYSHARE série M de Kodak, qui regroupe des appareils photo numériques à zoom, stylés et proposés à des prix compétitifs. Toute une série de fonctions permettent d’immortaliser et de partager rapidement des moments forts :
· Innovante, la fonction Smart Capture identifie la scène et effectue automatiquement les réglages de l’appareil photo pour produire de superbes images dans quasiment tous les environnements.
· Prenez des photos et enregistrez des séquences vidéo saisissantes en haute définition, puis visualisez-les sur un téléviseur HD grâce à la station d’accueil HD KODAK EASYSHARE, disponible en option.
· Réduisez le flou occasionné par les mouvements de l’appareil photo ou du sujet ou les scènes d’action rapide grâce au stabilisateur d’image et à la technologie anti-flou. · La technologie de détection des visages, idéale pour réussir les clichés de tous vos proches, repère les visages et effectue automatiquement les réglages de l’appareil photo.
· Saisissez les moindres détails, dans des conditions de faible éclairage et au cours d’actions rapides, grâce au mode haute sensibilité (jusqu’à 3 200 ISO).
Prix et disponibilité
L’appareil photo numérique KODAK EASYSHARE M1093 IS sera disponible à partir du mois de septembre 2008, à un prix public recommandé inférieur ou égal à 199€ TTC.
A propos du système KODAK EASYSHARE
Kodak continue à enrichir son système de photographie numérique KODAK EASYSHARE avec de nouvelles fonctionnalités innovantes, améliorant ainsi l’expérience photo numérique des consommateurs dans le monde entier. Le système EASYSHARE se compose d’appareils photo numériques, de cadres photo numériques, de services en ligne, de logiciels, d’imprimantes jet d’encre et d’accessoires, rendant la prise de vue, le partage et l’archivage des photos plus simple. Tous les produits KODAK EASYSHARE annoncés aujourd’hui incluent la dernière version du logiciel KODAK EASYSHARE, présentant de nombreuses améliorations pour aider les utilisateurs à trouver, créer et partager leurs images comme jamais auparavant. Le logiciel KODAK EASYSHARE Version 7.0 inclus maintenant un accès direct à KODAK Gallery afin de simplifier la recherche des albums stockés en ligne. Cette nouvelle version est téléchargeable gratuitement en ligne.
Pour plus d’informations sur tous les produits KODAK EASYSHARE, consultez www.kodak.fr

Sinar back eMotion75 digital medium format

Sinar has revamped the eMotion75 digital back, giving it a bigger and better display as well as impressive high ISO capabilities

As of now all Sinar eMotion 75 digital backs ship with updated hardware parts that drastically augment its performance in terms of image quality and handling.

A newly designed circuit board has been implemented which improves image quality considerably. High ISO images are now clearer than ever. The upgraded eMotion75’s are also fitted with a new 2.5’’ TFT display that boasts a resolution of 163 dots per inch.

This 18bit display is not only 15% bigger than its predecessor it is also brighter and has a higher contrast range. This optimizes image viewing in bright light situations.

Using these State of the art components it was possible to keep the price tag as it was.

Contact your local Sinar dealer for information on how to upgrade your Sinarback eMotion75.

Photo (c) Sinar - All rights reserved

July 9, 2008

Sketches Online Gallery Ed Velandria

A recent front page article in the Los Angeles Times entitled "Subway Sketchers Create an Online Community" featured NYC artist, Ed Velandria and documented his use of the paint and drawing software, ArtRage. In a graphic commentary on the intersection of technology and everyday life, Velandria uses the time he spends on his daily subway rides from Brooklyn to Manhattan to sketch portraits of other subway riders on his laptop computer with ArtRage and a digital drawing tablet. ArtRage, by Ambient Design, allows to paint and draw realistically. Users can use artistic tools such as oils, pencils, Crayons, airbrush, chalk and markers. There are also choices of canvas size, paper grains, stencils and layers. Velandria loves the simplicity of ArtRage and how it allows him to capture the essence of his subjects quickly. "My ultimate goal is to really capture the soul of a person." His subway sketching has caught the attention of other artists from around the world too. There is now an online community of "sketchers" that Velandria stays in touch with. He has about 500 subway sketches available online and his gallery has received more than 4,000 views.
The entire LA Times story can be found here: http://tinyurl.com/artrage. To see Ed Velandria's subway portrait gallery: http://tinyurl.com/5b9how. For more information about ArtRage: www.artrage.com/artrage.html.

July 8, 2008

Macworld Award pour Quark DPS

Quark Dynamic Publishing Solution (DPS) remporte le prix du meilleur logiciel de création graphique lors des Macworld Awards à Londres Organisés pour la 13ème année, les Macworld Awards sont décernés par les rédacteurs de la version britannique de Macworld. Ils récompensent les produits et fournisseurs qui sont reconnus par la rédaction du magazine comme ayant apporté une contribution importante au cours de l’année, dans différents secteurs d’activité dont celui de la création graphique professionnelle. Lancé en 2008, Quark Dynamic Publishing Solution (DPS) combine flexibilité de mise en page et fonctions de publication automatisée pour créer et diffuser des communications sur support papier, sur le Web et sur les équipements mobiles et électroniques. Quark Dynamic Publishing Solution constitue un bon complément du logiciel de mise en page et de gestion des flux de contenus collaboratif, QuarkXPress. Pour le jury de Macworld UK, « Quark mène la danse quand il s’agit de répondre aux difficultés rencontrées par les éditeurs d’aujourd’hui. Quark Dynamic Publishing Solution abat les cloisons entre différents formats de supports et permet de déployer rapidement des communications haut de gamme sur le papier, Internet et des équipements mobiles. » Quark DPS a devancé dans le coeur des rédacteurs de Macworld UK les autres produits nominés dans cette catégorie, notamment Autodesk, Corel, Informatix Software, Luxology et Nemetschek.

July 7, 2008

Leica ALS60 et Leica RCD105

LEICA GEOSYSTEMS FRANCE - COMMUNIQUE DE PRESSE - 07.07.2008

Leica ALS60 et Leica RCD105 : Une fréquence d’impulsions « Au sol » de 200kHz avec un appareil photo numérique moyen format adapté

Leica Geosystems présente son nouveau scanner laser aéroporté : le Leica ALS60. De plus, avec l’introduction d’un nouvel appareil photo numérique aéroportéde moyen format, le Leica RCD105 spécialement conçu pour être utilisé avec les systèmes LIDAR aéroportés de la série ALS, Leica Geosystems entretient sa réputation de posséder les systèmes LIDAR les plus demandés du marché.
Le Leica ALS60 fournit des données précises plus rapidement
Le système LIDAR Leica Geosystems de troisième génération, le Leica ALS60, garantit la précision des données acquises quelle que soit la fréquence d’impulsions, dépendant uniquement de l’altitude de vol. Sa gamme d’altitudes de vol s’étend de 200 m (compatible avec l’utilisation d’un hélicoptère) à 5000 m pour la cartographie de grandes surfaces. Aujourd’hui plus que jamais, le Leica ALS60 redéfinit les performances de la cartographie avec un système LIDAR.
Les applications des LIDAR concernent les projets de toutes tailles, de la création de plans urbains qui requiert une très forte densité de points aux contrats concernant de vastes surfaces et quirequièrent une moindre densité de points mais une meilleure distribution obtenue depuis desaltitudes supérieures. La technologie MPiA du Leica ALS60 double sa productivité.
Une intégration parfaite du nouvel appareil photo moyen format : le Leica RCD105
Le Leica RCD105, disposant de 39 mégapixels, est conçu comme une solution aéroportée et peutêtre utilisé sur terre et dans les airs. Il s’intègre parfaitement aux systèmes LIDAR de la série ALS de Leica, de la planification des missions à l’exploitation du système et au traitement d’image.
Les avantages de cette conception spéciale pour les systèmes aéroportés comprennent une parfaiteconformité aux spécifications environnementales applicables aux systèmes aéroportés concernant latempérature, les chocs, les vibrations, les interférences électromagnétiques et radiofréquences (IEM/IRF). En outre, une seule commande peut enregistrer les données de deux appareils photos, ce quipermet l’acquisition simultanée d’images en couleurs naturelles et en fausses couleurs infrarouges. Peu importent les préférences de couleurs, le Leica RCD105 est disponible avec divers objectifs. Grâce à la fréquence d’images rapide du système, l’appareil peut être paramétré pour desperformances optimales pour toutes les applications.
Autre caractéristique unique de cet appareil photo, l’utilisateur peut remplacer l’obturateur lui-même,ce qui réduit les besoins de maintenance hors-site. Ce nouveau produit entre dans le cadre de l’assistance intégrale de Leica Geosystems.
La souplesse du Leica ALS60 : Reconfiguration rapide pour le montage en cabine ou dans unecoque à l’extérieur grâce à ses dimensions réduites.

Le Leica RCD105 est un nouvel appareil photo numérique aéroporté de moyen format conçus pécialement pour être utilisé avec les systèmes LIDAR aéroportés de la série ALS de Leica.

A propos de Leica Geosystems

July 6, 2008

Mise a jour du micrologiciel du Casio EXILIM EX-F1

Ajout de la fonction de préenregistrement de séquences au micrologiciel des appareils EXILIM EX-F1

En réponse à la demande d'utilisateurs d'EXILIM, Casio vient d'ajouter une fonction de préenregistrement des séquences BEST SHOT au micrologiciel des appareils EXILIM EX-F1.

Les utilisateurs d'EX-F1 pourront désormais procéder à des préenregistrements sur la version la plus récente du micrologiciel. Si vous possédez un EX-F1 et que vous souhaitez y ajouter des capacités de préenregistrement, lisez attentivement les informations fournies sur le site de Casio, puis téléchargez la version la plus récente du micrologiciel et installez-la sur votre appareil photo.

Versions prenant en charge la fonction de préenregistrement : EX-F1 version 1.10 et supérieures.

Cette mise à jour est destinée aux utilisateurs dont l'appareil photo EX-F1 exécute un micrologiciel dont la version est comprise entre 1.00 et 1.02. En effet, les versions 1.10 et supérieures comportent déjà des capacités de préenregistrement et ne nécessitent donc pas de mise à jour.

Pour plus d'informations et pour télécharger la mise à jour :

July 5, 2008

The Gallery, David Zwirner, New York

The Gallery
David Zwirner, New York

July 3 - August 8, 2008


Michael Riedel
Untitled (flag), 2007, Cotton
121 x 106 1/2 inches, 307.3 x 270.5 cm
Courtesy the artist and David Zwirner, New York

David Zwirner celebrates fifteen years with an anniversary exhibition, titled The Gallery. Highlighting the evolution of David Zwirner, the exhibition presents early and recent work by all of the artists represented and is the first to span the entire gallery, uniting 519, 525, and 533 West 19th Street.

David Zwirner opened its doors in February 1993 on the ground floor of 43 Greene Street in SoHo. Marked by pioneering exhibitions with Stan Douglas, Jason Rhoades, Toba Khedoori, Rachel Khedoori, and Diana Thater, the early years established David Zwirner as a home for innovative, emerging artists working across media. Over the years, the gallery has helped foster the careers of some of the most influential artists working today, including Luc Tuymans and Neo Rauch, who both had their U.S. debut exhibitions at David Zwirner in 1994 and 2000 respectively. During its time in SoHo, the following artists joined the gallery: Michaël Borremans, Raoul De Keyser, Marcel Dzama, On Kawara, The Estate of Gordon Matta-Clark, John McCracken, Jockum Nordström, Raymond Pettibon, Daniel Richter, Thomas Ruff, Katy Schimert, Yutaka Sone, and Christopher Williams.

Much like its artists, David Zwirner has experienced extraordinary growth. In 2002, the gallery moved to Chelsea. Four years later, it expanded from 10,000 to 30,000 square feet, allowing the gallery to mount three independent, full-scale exhibitions simultaneously. Many new artists have joined the gallery since its move to Chelsea including: Adel Abdessemed, Tomma Abts, Francis Alÿs, Mamma Andersson, R. Crumb, PhilipLorca diCorcia, Marlene Dumas, Isa Genzken, Chris Ofili, Michael Riedel, James Welling, Sue Williams, Yan Pei-Ming, and Lisa Yuskavage.

Only eight artists comprised the fifth anniversary exhibition in 1999, in contrast The Gallery celebrates the thirty-four artists now represented. It also includes work by Fred Sandback and Al Taylor, whose estates are represented by Zwirner & Wirth, located at 32 East 69th Street.

Adel Abdessemed (b. 1971, Algeria) joined the gallery in 2008. This exhibition features the new work Also sprach Allah, 2008. This fall, a solo exhibition of the artist’s work will be at the Massachusetts Institute of Technology (October 2008 –January 2009), where he also will be teaching. Adel Abdessemed will have his first show at David Zwirner in 2009 [Adel Abdessemed: Rio, April 3 - May 9, 2009]

Tomma Abts (b. 1967, Germany) joined the gallery in 2005. The Gallery includes one work on paper from 2005. This is the first time her work has been featured in an exhibition at David Zwirner, and this fall she will have her first solo exhibition at the gallery (October – December). Abts’ traveling solo exhibition, organized by the New Museum, opens at the Hammer Museum in Los Angeles on July 27.

Francis Alÿs (b. 1959, Belgium) joined the gallery in 2004. In this exhibition, the artist presents a work from the Sign Painting Project recently shown at the Schaulager in Basel. The work consists of three canvases: one painted by Alÿs and two reproductions by local sign–painters in Mexico City. This work is one in a series developed over four years exploring authorship, collaboration, and authenticity.

Mamma Andersson (b. 1962, Sweden) joined the gallery in 2004. The Gallery includes the painting The Best Storyteller II, 2005, which depicts two television monitors in acrylic and oil on panel and was recently included in the artist’s traveling European retrospective.

Michaël Borremans (b. 1963, Belgium) joined the gallery in 2001. In this exhibition, Borremans presents a new painting Chinese woman, 2008.

R. Crumb (b. 1943, United States) joined the gallery in 2006. The Gallery includes “When the Niggers take over America.” A six-page comic first published in 1993 in Weirdo, the drawings typify the aggressive confrontation of social taboos that has come to characterize Crumb’s work.

Raoul De Keyser (b. 1930, Belgium) joined the gallery in 1999. This exhibition includes the painting Front, 1992. His work is currently on view at FRAC Auvergne in France (June – September).

Philip-Lorca diCorcia
(b. 1951, United States) joined the gallery in 2007. This is the first time his work has been featured in an exhibition at David Zwirner, and included is a photograph from the Heads series, 2000. A current solo exhibition is on view at the Los Angeles County Museum of Art through September.

Stan Douglas (b. 1960, Canada) was one of the first artists to exhibit at David Zwirner in 1993. Fittingly, this exhibition includes an early video work Television Spots, 1987-88. Originally created for insertion on broadcast television, the work was included in David Zwirner’s 1994 summer group show. Later this year, Douglas will have his ninth solo exhibition at the gallery (October – December).

Marlene Dumas (b. 1953, South Africa) joined the gallery in 2008. In this exhibition, the artist presents Against History, 2001, painted after Jacques-Louis David’s famous The Death of Marat, 1793. This is the first time her work has been featured at David Zwirner. She is currently the focus of a mid-career survey jointly hosted by the Museum of Contemporary Art in Los Angeles (June – September 2008) and the Museum of Modern Art in New York (December 2008 – February 2009). The exhibition, Measuring Your Own Grave, then travels to The Menil Collection in Houston, Texas (March –June 2009).

Marcel Dzama (b. 1974, Canada) had his debut solo exhibition at David Zwirner in 1998. The Gallery features a new sculpture.

Isa Genzken (b. 1948, Germany) joined the gallery in 2004. This exhibition features three sculptures from Genzken’s 2007 exhibition at David Zwirner.

On Kawara (27,585 days [July 1, 2008]) first exhibited at David Zwirner in 1999. The Gallery includes a recent date painting from the artist’s Today Series. A current solo exhibition of Kawara’s work is on view at Dallas Museum of Art until August. David Zwirner will host an unprecedented simultaneous live reading and recording of the artist’s One Million Years this winter.

Rachel Khedoori (b. 1964, Australia) was one of the first artists to exhibit at David Zwirner in 1994. This exhibition includes a new sculpture by the artist.

Toba Khedoori (b. 1964, Australia) was one of the first artists to exhibit at David Zwirner in 1994. The Gallery includes Untitled (White Fireplace), 2005.

The Estate of Gordon Matta-Clark (1943-1978, United States) has been represented by David Zwirner since 1999. The Gallery includes Graffiti Photoglyph, 1973. An exhibition of Matta-Clark’s work is on view at The Siena Contemporary Art Centre in Siena, Italy through October. The artist will be featured in this fall’s Gwangju Biennial in South Korea.

John McCracken (b. 1932, United States) began exhibiting at the gallery in 1997. This exhibition features the monolith Be, 2004. McCracken will have his fourth solo exhibition at David Zwirner in September.

Jockum Nordström
(b. 1963, Sweden) joined the gallery in 2000. This exhibition includes a large collage work from Nordström’s 2006 exhibition at David Zwirner.

Chris Ofili (b. 1968, England) joined the gallery in 2005. The artist presents Annunciation, 2006. This bronze sculpture first appeared in Ofili’s 2007 exhibition Devil’s Pie.

Raymond Pettibon (b. 1957, United States) had his first solo exhibition at David Zwirner in 1995. The Gallery includes a selection of recent drawings.

Neo Rauch (b. 1960, Germany) had his US debut exhibition at David Zwirner in 2000, and recently had his fourth solo show at the gallery (closed June 21). This exhibition includes the painting Schmerz, 2004.

Jason Rhoades (1965-2006, United States) was one of the first artists to exhibit at David Zwirner in 1993, and the gallery continues to work with the Estate. This exhibition includes a neon work Sweet Potato Pie, 2003.

Daniel Richter (b. 1962, Germany) joined the gallery in 2001. This exhibition includes the painting Sketch study - dog planet, 2002.

Michael Riedel (b. 1972, Germany) joined the gallery in 2004. This exhibition includes Untitled (flag), 2007, one in a series of flags. Part of his ongoing exploration of text, the flag proposes a new font for the David Zwirner logo. Riedel will have his second solo exhibition at David Zwirner in September.

Thomas Ruff (b. 1958, Germany) first exhibited with David Zwirner in 2000. The Gallery includes jpeg rl05, depicting a rocket launch.

The Estate of Fred Sandback (1943-2003, United States) has been represented by Zwirner & Wirth since 2004. The Gallery features an untitled sculpture from 1968.

Katy Schimert (b. 1963, United States) had her first solo exhibition at David Zwirner in 1998. The Gallery features an early sculpture Red Sun with Black Heart, 1999, created from blown glass.

Yutaka Sone (b. 1965, Japan) first exhibited with the gallery in 1999. The Gallery includes the marble sculpture Amusement, 1998, which was also featured in the artist’s 1999 exhibition.

The Estate of Al Taylor (1949-1999, United States) has been represented by Zwirner & Wirth since 2006. The Gallery features the sculpture Bat Parts I, 1993, as well as one work on paper.

Diana Thater (b. 1962, United States) was one of the first artists to exhibit at David Zwirner in 1994. The Gallery includes Perfect Devotion Six, 2006. Filmed on 35mm film, the six-monitor work features tigers on California’s Shambala Preserve.

Luc Tuymans (b. 1958, Belgium) had his debut US exhibition at David Zwirner in 1994. The Gallery features Portrait, 2000, picturing a recently deceased woman in dark framed glasses. In 2009, the Wexner Center for the Arts and the San Francisco Museum of Modern Art will mount the artist’s first US retrospective, which will travel to the Dallas Museum of Art and the Museum of Contemporary Art, Chicago.

James Welling (b. 1951, United States) first exhibited at David Zwirner in 2005. In this exhibition, the artist presents three works from his Authors series, 2007. Evoking the 19th century through color, each work is titled after a writer of the period.

Christopher Williams (b. 1956, United States) had his first solo exhibition at David Zwirner in 2000. The Gallery includes an early example of the artist’s work, Boeing Retrofit Overhead Stowage Bins (Closed)..., 1997, comprised of four black-and-white photographs.

Sue Williams (b. 1954, United States) joined the gallery in 2005. The Gallery includes the painting Mr. Bolton and Mr. Olmert Step on Something in Southern Lebanon, 2006. This is the first time her work has been featured in an exhibition at David Zwirner, and she will have her first solo show at the gallery in September.

Yan Pei-Ming (b. 1960, China) joined the gallery in 2006. This exhibition includes a new watercolor portrait of David Zwirner. The Des Moines Art Center will present the artist’s first one–person museum exhibition in the United States in September.

Lisa Yuskavage (b. 1962, United States) joined the gallery in 2005. This exhibition features a new work on paper. The artist will have her second solo exhibition at David Zwirner in March 2009.

David Zwirner
519, 525 & 533 West 19th Street New York, NY
www.davidzwirner.com

July 1, 2008

The Front Room Gallery Summer Sampler Exhibition

 

The Front Room Gallery (147 Roebling Street, Williamsburg, Brooklyn, New York) presents Summer Sampler, a tantalizing treat featuring works by the last season's Front Room artists as well as a preview of the shows to come, and some splendid new selections.

Amanda Alic and Ethan Crenson, film a new installment of their October 3rd videos every year. For Summer Sampler they will offer October 3rd, 2007. The couple set up outside of the New York Public Library and asked passers-by to tell us a joke in any language. Polish, Hebrew, German, Wolof, Spanish, Hungarian, Serbian, Pular, Igbo, Farsi, French, Russian, Norwegian and, of course, English speakers have offered jokes since the project began in 2001. The project seems to suggest the rigor of a conceptual exercise, but the subject has a less austere quality. The jokes may not be universal, but the telling of them has a quality seems so.

Sasha Bezzubov and Jessica Sucher's series The Searchers examines various aspects of Western spiritual tourism in India and features large scale photographs taken at sites including the Osho Meditation Resort in Pune, the Divine Life Society in Rishikesh, and the Mahabodi Temple in Bodh Gaya. Sasha Bezzubov and Jessica Sucher investigate the lure of India's rich religious history in utopian communities, yoga centers, and meditation retreats that cater to Western seekers. Engaging with the visitors of these locations and immersing themselves in the subculture of spiritual experimentation, Bezzubov and Sucher create spatially astounding images that encompass the visual strangeness and cultural collisions of this phenomenon. The Searchers consists of several series of photographs that present these themes through portraiture, landscape and abstraction.

Gregory Curry - In his paintings Greg Curry has invented a new biology. The behavior of the organisms from Curry's world of super day-glow greens and oranges is seemingly put under the microscope and we become privy to the existential struggle they endure. This nebulous environment might shroud their identities, but their purposes are often much clearer than their scale or surroundings. They are refugees, assassins, congregations of similar organisms and menacing loners. In these paintings the body has been expanded, contracted, manufactured, reworked and jettisoned. These paintings utilize familiar modes of representation: rendering, classic spatial relationships and perspective to familiarize these forms in spite of the taxonomic meltdown they are undergoing.

Lisa DiLillo's video and photography series entitled Encounters both focus on similar themes. The photographs depicts situations occurring along the increasingly porous borders between "natural" and human habitats. A cultural cross-contamination occurs as both worlds are altered by the presence of each other.

Erik Guzman - Erik Guzman's artworks consist of a multitude finely cut parts of aluminum, glass and plastics. Each of these material elements converge to create mechanical devices that rotate, point, generate sound, and illuminate without obvious or logical results. A marriage between craft and movement allows for an aesthetic to evolve that is independent of the two.

Sean Hemmerle - In Hemmerle's photographs the political situations are remarkably tangible in the landscape-the often sad and complex stories embodied. In these solitary, forsaken landscapes the streets are often dead ends marked by a cul-de-sac, a massive and improbable wall bisecting the street and blocking our visual lines. Sean Hemmerle's photos show the physical manifestation of ideological differences and the political desperation, that once deemed intractable, are made concrete and expressed through the architecture. By photographing international zones of contention he shows the landscape of discord, and the architecture erected for this specific division.

Melissa Pokorny - By using overtly artificial means to represent space, coupled with uncannily realistic animal figurines and casts, Melissa Pokorny questions our estrangement from, and subsequent longing for connection to the natural world, and the resulting substitution of the real by the fake.

Alan Packer - Alan Packer's extensive and impressive body of work examines elemental and cultural ideas. Packer relates his experiences and travels through large-scale sculptures that revive lesser known cultural ideas. His travels have taken him to the northern regions of the Arctic circle, cultural centers of Paris and New York, the Rocky mountains, the wilderness of Banff and ancestral Wales. During his extended stays in these communities Alan Packer broadened his cultural ideas, incorporating theirs into his own. His elegant constructions combine industrial materials with elements that reference natural world, unifying the mechanical world of industry's focus on rigorous time keeping and the less tangible system of the life cycle in nature.

Sante Scardillo - Through his work with newspaper articles, headlines, and magazine advertisements Sante Scardillo reclaims the public space the media uses for their marketing, and exposes a hidden message of compliance. He questions both their strategies and implied political aims. In his work Scardillo uses found text and images from the media and alters them, completely changing their perceived meanings. Scardillo's work brings the hidden meaning to the forefront, and uses the glossiness against itself, or simply isolates headlines, effectively creating cultural slogans.

Philip Simmons merges contours of American imagery, defining new icons for this century. His elegant silhouetted forms revel in the machismo culture so particularly American with the glorification of the wild west, gunfights between cowboys and indians, soldiers, and ultimately war. These glamorous shapes, of super high-gloss resin take us back to a simpler time of drive in movies and enameled gas station signs with logos of roaring tigers and Pegasus. Their content, however, is not lemonade stands and sock-hops. They are violent and aggressive, their radiant surfaces depicting savage animal attacks, gun fights, and bomb blasts.

Patricia Smith - Patricia Smith's meticulous, quietly subversive works on paper commingle elements of architectural drawings, medical illustrations, and antique maps. Labeled with text captions, these imaginary structures address the anxieties of contemporary life and the coping mechanisms that develop in the collective psyche.

Mark Stilwell uses painted and reclaimed packaging, byproducts of the over-consuming society he portrays, in this scene of terror. Crowds of paper cut-out citizens run screaming from the devastation and hostile creatures that are overtaking the city.

Edie Winograde - Edie Winograde's photographs tap into an American cultural memory, a visual memory created not so much through historical study but by television, movies and Western paintings. Place and Time creates a portrait of the present-day phenomenon of the reenactments as well as an impression of historical and legendary events, blurring the boundaries between now and then, history and imagination.

 

The Front Room

Summer Sampler
July 11 - August 2, 2008