June 22, 2007

Le photographique chez Sigmar Polke par Xavier Domino


Le Photographique chez Sigmar Polke, Le Point du Jour LE PHOTOGRAPHIQUE CHEZ SIGMAR POLKE
Xavier Domino

Artiste contemporain majeur, SIGMAR POLKE reste toutefois mal connu du public français. Interroger ses pratiques photographiques permet de mesurer l'importance d'une oeuvre polymorphe, à l'aune d'expérimentations remontant aux années 1960. Tout en restituant le contexte artistique de la production, Xavier Domino nous présente, non sans humour, le large spectre des protocoles suivis et des résultats obtenus. Le photographique ouvre enfin à la compréhension globale d'un parcours et fonde son originalité au croisement improbable du Pop-art et du post-modernisme.

Xavier Domino, ancien élève de l'École normale supérieure (Ulm), de l'Institut d'études politiques de Paris et de l'Ecole nationale d'administration, est maître des requêtes au Conseil d'État. Cet ouvrage est issu d'un mémoire de master d'histoire de l'art préparé en 2003 à l'Université Paris I Panthéon-Sorbonne.

Déployer les acquis d'un travail universitaire dans la dimension singulière de l'essai, tel est le prolongement auquel cette collection invite de jeunes chercheurs. Plutôt que la photographie en tant que telle, ils y abordent des œuvres, des questions politiques et culturelles qui s'inscrivent, de manière centrale ou emblématique, dans le large champ du photographique.


Xavier Domino
Le photographique chez Sigmar Polke

Le Point du Jour
Collection Le Champ photographique
mai 2007
15 x 22 cm - 144 pages
40 images en couleurs
ISBN : 978-2-912132-53-6
19 euros

June 15, 2007

The 40th anniversary of Screen USA

Forty Cheers for Screen (USA) - Company Celebrates Anniversary of Founding, Looks Forward to Bright Future
Among many major milestones in the history of Screen (USA), the company passed another one in June by marking the 40th anniversary of its founding.
Screen (USA) will officially observe its 40th anniversary on September 10 at the Art Institute of Chicago. The event is scheduled to coincide with Graph Expo 2007.
The annual graphic arts industry trade show is the perfect backdrop for celebrating an organization whose success lies in the strength of its products. Even as the company pauses to commemorate its past, the people of Screen (USA) continue to deliver products and services that create unique opportunities for printers and graphic arts firms in North America, Canada and South America. Screen recently has released the latest version of Trueflow 3. Screen’s flagship workflow management system based on Portable Document Format (PDF) and Job Definition Format (JDF) automates prepress operations and optimizes CTP plate production and digital press output. Its JDF compatibility with version 4 strengthens cooperation between management information systems (MIS) and print production.
Product introductions slated for this year include a new inkjet printing system that builds on the successful launch in 2006 of the Truepress Jet520 variable data inkjet printer and Truepress 344 digital offset press. The Truepress Jet2500UV will provide greater flexibility and speed for the fast-growing print-on-demand market. Part of Screen’s digital printing strategy, the Truepress Jet2500UV takes advantage of strong demand for high-precision, multicolor image reproduction.
Scheduled for release in 2007, the next-generation Trueflow SE workflow will implement the powerful Abode PDF Printing Engine to enhance output consistency throughout the workflow. In combination with JDF, it improves overall print productivity and profitability. Integrating this technology into Trueflow SE is further evidence of Screen’s commitment to developing software solutions aimed at providing total solution for customers that plan to drive future Screen hardware devices.
Steeped in history
Screen (USA) is an organization steeped in printing history. Starting out as the first overseas subsidiary of Dainippon Screen Manufacturing Co., Ltd., Screen (USA) supplies systems and components for production of newspapers, folding cartons, books, magazines, brochures, catalogs and many other types of printed materials. It benefits from the engineering prowess of one of the world’s largest manufacturers of prepress equipment. The parent company, incorporated in 1943 with headquarters in Kyoto, Japan, was the outgrowth of a manufacturing concern dating back to the mid-1800s. In 1868, Saigiro Ishida established a copper plate and lithographic printing shop called Ishida Kyokuzan Printing Works. Saigiro Ishida was the great-grandfather of Dainippon Screen’s chairman and CEO, Akira Ishida.
The subsequent acquisition of several patents by Saigiro Ishida and his son Keizo Ishida laid the foundation for transforming the shop into a maker of glass screens used in the photographic reproduction of halftone plates.
By 1946, Dainippon Screen had become a pioneer in wooden process cameras, arc lamps and vacuum printing frames. Dainippon Screen’s ability to deliver outstanding technological achievements and quality meant that the company quickly made a name for itself. Today, Dainippon Screen is the world’s leading supplier of CTP and prepress systems. Its diverse portfolio ranges from digital camera backs and intelligent servers to thermal imaging devices and digital printing systems.
Evolving markets
Screen (USA) is best known for serving the prepress needs of U.S. commercial printers with high-quality color scanners, imagesetters and platesetters. Ongoing development of workflow management software and upgrades to existing applications for proofing, screening and color control improve Screen customers’ production capabilities.
At the same time, Screen (USA) has broadened its reach beyond traditional boundaries and market segments, making inroads in the digital printing arena. Screen technology is found in packaging operations, newspaper companies, trade shops, in-plants and service bureaus in every state, plus Canada and all of Latin America. Simplified workflows
As an industry trendsetter, the Screen organization has been able to draw on an everexpanding wealth of experience to great effect. The company was already committed to efficient, low-cost prepress production when its TaigaSPACE automated workflow system premiered. Launched in 1993, TaigaSPACE featured a multi-functional RIP-on-server architecture. Utilizing core interpreter technology from Adobe Systems as the foundation, it converted PDF and PostScript files to TaigaSPACE’s native POM format. The system proved to be enormously successful, with close to 3,000 users worldwide by 2000. The workflow concept evolved further with Trueflow. Screen unveiled the revolutionary PDF workflow management system at Seybold Boston in 2000. Trueflow challenged the prevailing approach to automated workflows by enabling operation from networked computers and remote locations via standard Internet browsers.
Trueflow increased workflow speed and efficiency by digitally organizing individual tasks in prepress and plate production. It allowed operators to handle computer-to-film needs, and was scaleable to a multi-server, multi-user network.
Trueflow 3
, a major upgrade to the workflow system available as of 2004, added enhanced JDF capability. Screen further expanded the Trueflow product with Trueflow Elite. This powerful enterprise-wide workflow system is aimed at large-size, high-volume printing companies that operate multiple production facilities.
JDF-enabled process automation
To take full advantage of the JDF workflow concept, Screen began devising in 2003 the Trueflownet family of workflow solutions. A Trueflownet operating environment provides the necessary resources to interface with customers from job submission to job approval. Technologies developed under the Trueflownet umbrella move critical production-related tasks to the customer’s desktop. Furthermore, Trueflownet’s integrated workflow modules address postpress, fulfillment and business operation needs.
Trueflow 3 is the core of Trueflownet. It strengthens cooperation between every phase of production. It also connects with other Trueflownet software modules to facilitate automated online job submission, document ordering and final production approval.
Trueflownet products are divided into three software suites, each addressing one of the foremost topics affecting the printing industry. The three suites — Rite Suite, Color Suite and Trueflow Suite — improve communication with print buyers, increase automation throughout the production process and enhance overall print quality.
Key product launches
1973: A significant event in the history of Screen was the launch of the SG-701 direct color scanner. Sales of the device set company records.
1980: Screen (together with Toppan Printing Co., Ltd.) developed a system to directly input video image signals stored on videotape to a scanner and then output the images as fourcolor film.
1981: Screen’s first electronic page makeup system was brought to market. The Sigmagraph 2000 served as the forerunner for subsequent Screen makeup systems.
1992: By the 1990s, Screen had cast its eye toward digital workflows, developing the DTS1015 scanning device for desktop publishing.
1995: A key milestone is reached with the debut of the PlateRite 1080. The CTP recorder allowed users to write digital computer files directly onto plates for printing without film.
1998: The introduction of the PlateRite 8000 eight-up platesetter established Screen as an innovator in thermal CTP technology.
2000: Screen launched the four-color Truepress 544 digital offset press and Truepress V200 monochrome printing system. Spekta, the exclusive AM/FM hybrid screening method, also premiered.
2001: The high-speed PlateRite 8600 eight-up CTP featured an enhanced 64-channel recording head to image up to 20 plates per hour at 2,400 dpi. The Tanto 6120 imagesetter brought increased productivity to eight-page imposed film output, producing 20 sheets of film per hour at 2,400 dpi.
2002: The PlateRite 4300 was developed to meet the plate needs of printers with four-page and six-page presses. The PlateRite Ultima, a large, multiple-format platesetter, supported four-page to 32-page plate formats and featured 512-channel laser diode imaging heads based on Grating Light Valve (GLV) technology.
2003: The PlateRite 8800 thermal platesetter with GLV technology headed up Screen’s eight-up CTP series.
2004: The Truepress 344 digital offset press introduced the very latest in processless plate technologies and advanced automation. The PlateRite Ultima 16000 provided the industry’s fastest 16-page CTP device.
2005: The PlateRite News 2000 CTP solution for newspaper prepress made its North American debut at PRINT 05.
2006: The Screen PlateRite portfolio included the widest range of equipment, from twopage to 36-page formats, for commercial, newspaper and package printing. The PlateRite FX870 enabled efficient and precise flexographic plate production for labels, flexible packaging, corrugated, carton and security printing. The PlateRite 6600 targeted the plate needs for a new generation of six-page presses, with a maximum plate size of 38.5 x 26.9 inches and maximum output of 30 plates per hour. The PlateRite Ultima 24000 was engineered for output of 24-page size plates, while the PlateRite Ultima 36000 output 36-page size plates.
Also in 2006, Spekta 2, the only hybrid screen application to incorporate 12-bit halftoning technology, debuted. The Truepress Jet520, a continuous-feed, single-pass inkjet printing press, offered personalized printing for catalogs, direct mail pieces, full-color account statements and other materials based on customer databases.

June 11, 2007

Eye-Fi secures $5.5 million in series a funding

The round was co-led by Opus Capital and Shasta Ventures. Eye-Fi is developing wireless-enabled products and services that intend to make the “ease of use” promise of digital photography a reality. Carl Showalter, general partner for Opus Capital, and Robert Coneybeer, managing director for Shasta Ventures, have joined Eye-Fi’s board of directors.
Digital cameras have made it very easy to take pictures, but it’s a chore to get photos off the camera to a place where you can print or share them,” said Coneybeer. “This is a very real problem affecting both consumers who own digital cameras, and companies in the digital photography industry looking to boost profits. We see a huge market opportunity for Eye-Fi because anyone with a Wi-Fi network and a digital camera is a potential customer.”
Eye-Fi was founded in August 2005 by Yuval Koren, president and CEO; Ziv Gillat, vice president of marketing and sales; Eugene Feinberg, hardware architect; and Berend Ozceri, systems architect. The team has five decades of collective experience in delivering successful products at companies including Apple, Atheros, Cisco and Silicon Graphics.
Wireless technology can enhance digital photography and help the market reach its full potential by removing some key obstacles,” said Ben Bajarin, analyst and strategist at Creative Strategies. “Wireless networks will make it easier to synchronize, upload and share photos, and provide other valuable services like geo-tagging to indicate where the photograph was taken.” said Bajarin.
Remember that sense of anticipation you felt when you picked up your prints from the local store? We want to bring that excitement back to photography,” said Koren. "Our services will use wireless technology to automatically upload photographs from a digital camera, making it easy for people to experience the real magic of digital photography."
Eye-Fi will use the funds for product development, operations, support, marketing and production. The company plans to release its first product, which is currently in beta trials, later this year.
About Eye-Fi
- Founded in 2005, the company is dedicated to building services that help consumers navigate, nurture and share their visual memories. Eye-Fi’s patent-pending technology works with Wi-Fi networks to automatically send photos from a digital camera to online, in-home and retail destinations. Headquartered in Mountain View, Calif., the company’s investors include Opus Capital and Shasta Ventures. More information is available at www.eye.fi
About Shasta - Shasta Ventures is an early-stage venture capital firm investing in technology-enabled businesses serving consumers and enterprises. Located in Menlo Park, Calif., Shasta Ventures manages a $210 million fund. Shasta was formed in 2004 by venture capital veterans and has made 19 investments to date across consumer and business services, infrastructure and software. For more information on Shasta Ventures, please visit www.shastaventures.com
About Opus Capital - Opus Capital is a venture capital firm with more than $1 billion capital under management, investing in committed, high integrity entrepreneurs building early-stage technology companies. The team has participated in the successful outcomes of more than 80 companies (including 50 IPOs) in the U.S. and in Israel including AirGate PCS, Electronics for Imaging, FedEx, Genesys, Harmonic, Precept Software and Vantive. Opus Capital is headquartered on Sand Hill Road in Menlo Park, California.

June 10, 2007

Mark Lewis first recipient of the Gershon Iskowitz Prize at the AGO


Photographer and filmmaker Mark Lewis was born in Hamilton, Ontario, in 1957. He now lives and works in London, England. He attended Harrow College of Art (London) and the Polytechnic of Central London. Starting out as a photographer, Mark Lewis began to experiment with film in the mid-1990’s. He is the co-founder of Afterall – a research and publishing organization – and founding editor of the Afterall Journal. Every issue of the journal brings together five international artists and discusses their works. Mark Lewis is also the principal lecturer of research at Central St. Martins School of Art and Design, in London.

On May 31, 2007, Mark Lewis has been jointly recognized by the Art Gallery of Ontario (AGO) and the Gershon Iskowitz Foundation for his contribution to the visual arts in Canada. Mark Lewis is the first recipient of the Gershon Iskowitz Prize.

The AGO’s permanent collection includes one of Mark Lewis’ most famous works – Algonquin Park, Early March (2002), in which he uses a slow reverse zoom. The four-minute film, shot in Ontario, begins with whiteness that the viewer perceives to be sky, but as the image unfolds it is revealed to be the frozen surface of a lake.

“Lewis returns to the locale made familiar and famous by the Group of Seven painters, artists such as Tom Thomson, and realizes a work of startling revelation,” says David Moos, AGO curator of contemporary art and a member of the jury that selected Mark Lewis. “As in many of Lewis’ films, the viewer is transported in both narrative and perceptual terms.”

Mark Lewis has always been fascinated with the social phenomenon and power of film. His work explores the pictorial possibilities of this art form, often using 35mm film, professional actors and basic cinematic techniques characteristic of avant-garde and mainstream cinema. His works seek to make connections between art history and cinema.

Some of Lewis’ other popular works include: Rear Projection (Molly Parker) (2006) and Rear Projection (Golden Rod) (2006). Molly Parker is a filmed portrait of the actress that is superimposed on a backdrop of an abandoned gas station. It has been described as a Renaissance cinematic portrait. Golden Rod was filmed in the same location, but from a different angle. It explores the disorienting effect of the camera’s slow movement through the landscape. Both works use a cinematic technique from the 1930’s that allowed stars to be ‘transported’ to dangerous or exotic landscapes. This technique has been supplemented by what is now called a green screen and digital technology.

June 8, 2007

Slimane Raïs, Terre Promise, Musée d'art contemporain de Lyon

Slimane Raïs, Terre Promise 
Musée d'art contemporain de Lyon 
6 juin - 5 août 2007

" Terre Promise " de l'artiste SLIMANE RAIS est une oeuvre d'art née d'un voyage dans les pays de l'Europe de l'Est. En 2006, Slimane Raïs est allé à la rencontre de ces pays, non pas dans ce qui constitue les limites de leurs territoires mais dans ce qui signifie leur présence à l'échelle universelle : la musique tzigane. Qu'ils soient Roms (Tziganes des pays de l'est), Gitans (Tziganes de la péninsule ibérique), Jenisches (Tziganes d'Autriche et de Suisse), Manouches (Tziganes d'Allemagne, de Belgique, d’Alsace et d’Auvergne)… la musique prend pour ces peuples la valeur de " territoire de vie " au-delà d'un " territoire de l'habiter ". Alors que le " territoire de l'habiter " assigne à des personnes l'appartenance à une nationalité ou à un pays, la musique est le " lieu " dans lequel les Tziganes se reconnaissent comme appartenant à une communauté au-delà des frontières. 

SLIMANE RAIS, dessin préparatoire à “Terre Promise” 2007 
© Slimane Raïs

SLIMANE RAIS, dessin préparatoire à “Terre Promise” 2007 
© Slimane Raïs

Dans cette oeuvre, Slimane Raïs continue sa recherche artistique autour du concept du " PPCM ", le plus petit commun multiple, qui lui permet, dans une relation d'échange avec d'autres personnes, d'aboutir une création artistique. Fruit de six mois de voyages et de rencontres, " Terre Promise " se présente sous la forme d'une caravane élaborée à partir d'une carrosserie de voiture. " Pas n'importe quelle voiture " nous dit l'artiste, " La voiture de référence : la Mercedes ". Dans cette caravane, le spectateur est appelé à entrer et à s'asseoir sur un sol recouvert de gazon artificiel ; à l'avant de la voiture, un GPS diffuse en boucle une vidéo d'un musicien tzigane qui, accompagné de sa fille, joue du violon sous le tunnel du métro de Budapest. L'art, terre promise ?

La " terre promise " n'est jamais celle que l'on imagine. Elle est une promesse de la Bible pour le peuple juif, la représentation fantasmée du Paradis chez les Chrétiens et les Musulmans ou encore le rêve d'une terre nouvelle et vierge de toute vie pour les " premiers " arrivés en Amérique. Dans cette oeuvre, Slimane Raïs propose, le temps d'une exposition, de visiter une " terre promise ". Il ne s'agit guère de " Paradis " dans cette installation mais d'un ensemble de rencontres : rencontre de l'artiste avec les musiciens tziganes, interactions entre le " territoire de flux " de ces peuples nomades et les urbanités qu'ils traversent, et enfin télescopage entre nos projections imaginaires, parfois caricaturales, de la vie de ces peuples. Mais c'est aussi, la rencontre de différentes formes de production du visuel : la forme de l'installation dans l'art contemporain, la musique, le design de la voiture. Autant de rencontres qui un instant, peut-être, donnent l'illusion que dans l'art une terre est promise.

La seconde étape sera exposée les 13 et 14 octobre 2007 place des Terreaux dans le cadre de VEDUTA Biennale d’art contemporain de Lyon. 

Musée d'art contemporain de Lyon 
Site intenet : www.moca-lyon.org

About the MICA of Singapore

The Ministry of Information, Communications and the Arts (MICA) of Singapore is a multi-faceted ministry.  It is both an economic and social ministry with the vision to nurture and develop a Creative Economy, Gracious Community and Connected Singapore.

The Ministry's mission is to develop Singapore as a Global City for information, communications and the arts, so as to build a creative economy and a connected society with a Singaporean identity rooted in our multicultural heritage.  It aims to propel the creative economy through the development and promotion of the creative industries (arts, design and media) and infocomm technology sector to create new economic value and jobs.  It also aims to forge a strong sense of community, national identity, rootedness and inclusion among Singaporeans, and to foster better understanding between the Government and its various stakeholders through effective public communications. Information on MICA is available at www.mica.gov.sg.

Text from the MICA

Information on MICA is available at www.mica.gov.sg

June 7, 2007

Nikon Digital SLR Camera D40X Specifications

Type of Camera Single-lens reflex digital camera
Effective Pixels 10.2 million
Image Sensor RGB CCD, 23.6 x 15.8 mm; total pixels: 10.75 million, Nikon DX format Image Size (pixels) 3,872 x 2,592 [L], 2,896 x 1,944 [M], 1,936 x 1,296 [S]
ISO Sensitivity 100 to 1,600 in steps of 1 EV with additional setting one step over 1,600
Storage Media SD memory card, SDHC compliant
Storage System Compressed NEF (RAW): 12-bit compression, JPEG: JPEG baseline compliant File System Exif 2.21, Compliant DCF 2.0 and DPOF
White Balance Auto (TTL white-balance with 420-pixel RGB sensor), six manual modes with fine-tuning and preset white balance
LCD Monitor 2.5-in., 230,000-dot, low-temperature polysilicon TFT LCD with brightness adjustment Playback Function 1 frame; Thumbnail (4 or 9 segments); Magnifying playback; Slide show; Histogram indication; Highlight point display; Auto image rotation Delete Function Card format, All frames delete, Selected frames delete
Video Output NTSC or PAL
Interface High-speed USB: Mass Storage and MTP/PTP selectable
Text Input Up to 36 characters of alphanumeric text input available with LCD monitor and multi selector; stored in Exif header
Compatible Lenses*1 Nikon F mount with AF coupling and AF contacts Type G or D AF Nikkor 1) AF-S, AF-I: All functions supported,
2) Other Type G or D AF Nikkor: All functions supported except autofocus,
3) PC Micro-Nikkor 85mm f/2.8D: Can only be used in mode M; all other functions supported except autofocus,
4) Other AF Nikkor*2/AI-P Nikkor: All functions supported except autofocus and 3D Colour Matrix Metering II,
5): Non-CPU: Can be used in mode M, but exposure meter does not function; electronic rangefinder can be used if maximum aperture is f/5.6 or faster
*1. IX Nikkor lenses can not be used
*2. Excluding lenses for F3AF
Picture Angle Equivalent in 35mm [135] format is approx. 1.5 times lens focal length
Viewfinder Fixed-eyelevel penta-Dach mirror type; built-in diopter adjustment (-1.7 to +0.5m-1) Eyepoint 18mm (-1.0 m-1)
Focusing Screen Type B BriteView Clear Matte screen Mark V with superimposed focus brackets
Viewfinder Frame Coverage Approx. 95% (vertical/horizontal)
Viewfinder Magnification Approx. 0.8x with 50mm lens at infinity; -1.0 m-1
Viewfinder Information Focus indications, AE lock indicator, Shutter speed, Aperture value, Exposure/Exposure compensation indicator, Exposure mode, Flash output level compensation, Exposure compensation, Number of remaining exposures, Flash-ready indicator Autofocus TTL phase detection by Nikon Multi-CAM530 autofocus sensor module with AF-assist illuminator (range approximately 0.5-3.0m/1ft. 8in.-9ft. 10in.); Detection range: -1 to +19 EV (ISO 100 at 20°C/68°F)
Lens Servo
1) Autofocus (AF): Instant single-servo AF (AF-S); continuous servo AF (AF-C); auto AF-S/AF-C selection (AF-A); predictive focus tracking automatically activated according to subject status,
2) Manual focus (M)
Focus Area Can be selected from three focus areas AF Area Modes
1) Single Area AF,
2) Dynamic Area AF,
3) Dynamic Area AF with Closest Subject Priority
Focus Lock Focus can be locked by pressing shutter-release button halfway (single-servo AF) or by pressing AE-L/AF-L button
Exposure Metering System TTL exposure metering system
1) 3D Colour Matrix Metering II (type G and D lenses); Colour Matrix Metering II (other CPU lenses); metering performed by 420-pixel RGB sensor
2) Center-weighted: Weight of 75% given to 8mm circle in centre of frame
3) Spot: Meters 3.5mm circle (about 2.5% of frame) centered on active focus area
Exposure Metering Range
1) 0 to 20 EV (3D Colour Matrix or center-weighted metering),
2) 2 to 20 EV (spot metering)
Exposure Modes Digital Vari-program (Auto, Auto [Flash Off], Portrait, Landscape, Child, Sports, Close Up, Night Portrait), Programmed Auto (P) with flexible program; Shutter-Priority Auto (S); Aperture Priority Auto (A); Manual (M) Exposure Compensation ±5 EV in increments of 1/3 EV
Exposure Lock Exposure locked at detected value with AE-L/AF-L button
Shooting Modes
1) Single frame shooting mode,
2) Continuous shooting mode: approx. 3 frames per second*,
3) Self-timer mode,
4) Delayed remote mode: 2 s. delay,
5) Quick-response remote mode
*The fastest frame rates can be achieved by choosing manual focus, rotating the mode dial to S or M and selecting a shutter speed of 1/250 s. or faster, using defaults for all other settings. Shutter Electronically controlled vertical-travel focal plane shutter, 30 to 1/4000 s. in steps of 1/3 EV, bulb Sync Contact X-contact only; flash synchronization at up to 1/200 s.
Flash Control
1) TTL: TTL flash control by 420-pixel RGB sensor. i-TTL balanced fill-flash for digital SLR and standard i-TTL fill-flash for digital SLR available when CPU lens is used with built-in flash, SB-800, SB-600, and SB-400,
2) Auto aperture: Available with SB-800 with CPU lens,
3) Non-TTL Auto: Available with Speedlights such as SB-800, 80DX, 28DX, 28, 27, and 22s ,
4) Range-priority manual: Available with SB-800 Flash Sync Modes AUTO, Portrait, Child, Close Up: Auto, auto with red-eye reduction; fill-flash and red-eye reduction available with optional Speedlight Night portrait: Auto, auto slow sync, auto slow sync with red-eye reduction; slow sync and slow sync with red-eye reduction available with optional Speedlight Landscape, Sport: Fill-flash and red-eye reduction available with optional Speedlight P, A: Fill-flash, rear-curtain with slow sync, slow sync, slow sync with red-eye reduction, red-eye reduction S, M: Fill-flash, rear-curtain sync, red-eye reduction Built-in Flash AUTO, Portrait, Child, Close Up, Night Portrait: Auto flash with auto pop-up P/S/A/M: Manual pop-up with button release Guide number (ISO 100, m /ft.): approx. 12/39 (manual full 13/42) Flash Compensation -3 to +1 EV in increments of 1/3 EV Accessory Shoe Standard ISO hot-shoe contact with sync, signal, and ground contacts and safety lock Self-timer Electronically controlled timer with duration of 2, 5, 10 or 20 s.
Remote Control Via Wireless Remote Control ML-L3 (optional)
Power Source One Rechargeable Li-ion Battery EN-EL9; charging voltage (Quick Charger MH-23): 7.4V DC, AC Adapter EH-5 (available separately; requires optional AC Adapter Connector EP-5)
Tripod Socket 1/4 in. (ISO1222)
Dimensions (W x D x H) Approx. 126 x 64 x 94mm (5.0 x 2.5 x 3.7 in.)
Weight Approx. 495g (1lb. 1oz.) without battery, memory card or body cap
Supplied Accessories* Rechargeable Li-ion Battery EN-EL9, Quick Charger MH-23, USB Cable UC-E4, PictureProject, Rubber Eyecup DK-16, Camera Strap, Body Cap BF-1A, Eyepiece Cap DK-5, Accessory Shoe Cap BS-1
Optional Accessories Wireless Remote Control ML-L3, Capture NX, Camera Control Pro, AC Adapter Connector EP-5, AC Adapter EH-5, Video Cable EG-D100, Semi Soft-Case CF-DC1, Speedlight SB-800, SB-600, SB-400 and R1C1
*Supplied accessories may differ depending on country or area.
Specifications and equipment are subject to change without any notice or obligation on the part of the manufacturer. March 2007 ©2007 Nikon Corporation

June 6, 2007

Nikon D40x Digital DSRL Camera

François Morellet, Musée d'art contemporain de Lyon

François Morellet 
Musée d'art contemporain de Lyon 
6 juin - 5 août 2007 

Dans la suite des expositions consacrées à John Baldessari, Robert Morris et Yona Friedman, le Musée d'art contemporain de Lyon invite FRANCOIS MORELLET pour une "relecture" de ses oeuvres rassemblées dans la collection du musée. L'exposition offre l'opportunité d'un regard rétrospectif posé par le Musée sur ses acquisitions. Elle est également la réponse de François Morellet à la question soulevée par le Musée quant à la possibilité d'exposer ensemble des oeuvres esthétiquement disparates mais dont l'accumulation résulte cependant d'un projet conduit dans la durée. 

En 1985, lorsqu'il s'agit de réaliser la première année de programmation d'un musée d'art contemporain encore en devenir, François Morellet est parmi les premiers artistes invités à exposer (avec Joseph Kosuth, Lawrence Weiner, mais aussi Daniel Buren et Jean-Pierre Bertrand). L'exposition monographique réalisée du 24 mai au 9 juin 1985 donne lieu à l'acquisition de Deux lignes de tirets interférents, 1971. Cette pièce est symbolique de la participation de l'artiste au Groupe de Recherche d'Art Visuel auquel il contribue de 1961 à 1972. Quoique de grande qualité, elle reste cependant un succédané, relativement au projet d'une collection constituée d'ensembles étendus et de moments remarquables. Dans les années qui suivent, au gré des opportunités d'achat et des dons de l'artiste lui-même, plusieurs oeuvres sont venues s'ajouter à cette première acquisition.

En 1987, l'entrée d'une peinture de 1952 résume le moment où François Morellet s'engage définitivement dans l'abstraction géométrique. Peinture géométrique, trame du fait d'un chevron qui sert de motif, peinture désarticulée en plusieurs panneaux encore reliés par des charnières, Peinture, 1952, correspond à un moment clef où Morellet cherche à abandonner dans le même mouvement l'arbitraire de la composition, l'arbitraire du format et celui de la matière, qu'il trouve trop marqués par une vision romantique de l'artiste. Le don d'un Mouvement ondulatoire de 1965 complète cette acquisition. Cette oeuvre relève également de la période où Morellet côtoie le G.R.A.V. Elle en est une seconde qui affirme une dimension temporelle par l'intégration, cette fois, d'un mouvement. Ce choix répond aux orientations que s'était donné le groupe et aux exigences de l'artiste luimême. En trois oeuvres : Peinture, 1952, Mouvement ondulatoire, 1965, Deux lignes de tirets interférents, 1971, une période déterminante d'une carrière artistique se trouvait ainsi résumée dans la collection.

Invité en 1991 à participer à la Biennale de Lyon, et fidèle à sa méthode qui consiste à fixer une règle du jeu permettant de réduire le nombre de ses décisions subjectives, François Morellet propose une pièce dans laquelle les murs du lieu d'exposition sont décalés par redoublement et par basculement. Cette oeuvre par sa forme et ses modalités est atypique, rattachable peut-être aux intégrations et désintégrations architecturales que Morellet réalise depuis 1981. A l'issue de la Biennale, Sans titre, 1991, est donnée au Musée. S'ajoutant à la série d'oeuvres déjà présente, elle en perturbe la cohérence un instant trouvée. Sans titre, 1991, décale vers la question du all-over et du mur de l'exposition, le projet d'un ensemble traduisant l'oeuvre de Morellet en un espace singulier pour la collection. Le all-over systématique poussé jusque dans l'espace de l'exposition en passant par le détour du mur constitue pourtant un point premier dans les discussions entre le Musée et l'artiste en 1985. 

Un adhésif ("éphémère"), tel qu'en réalise François Morellet depuis 68 fait encore l'objet d'un possible projet d'acquisition qui ne se réalise qu'en 2006. Basculement d'un mur et une porte de 5° au dessus de 0°, 1985, est acquis en 2006 et jalonne cette fois un ensemble qui de la peinture à l'espace de sa monstration couvre une intéressante synthèse de l'oeuvre de François Morellet. Ces quelques oeuvres apparemment éparses font désormais exposition, rassemblées autour d'une Echappatoire nouvellement créée et donnée au Musée par l'artiste. Le plan de l'Echappatoire, 2006, est généré par le dessin d'une peinture de 1971 : Dix lignes au hasard. Labyrinthe qui jamais ne nous enferme, l'Echappatoire ouvre le plus souvent sur une oeuvre : Peinture, 1952, Mouvement ondulatoire, 1965, etc… Elle est comme la récente superposition qui réunit les fragments du hasard, l'interférence nouvelle du présent et du passé. 

Du 6 juin au 5 août 2007, l'exposition est la réponse de François Morellet à l'interrogation du Musée d'art contemporain : comment montrer dans un espace commun des oeuvres de moments divers et d'esprit différents, par delà les lacunes chronologiques où les failles de la représentativité, et pourtant toutes constitutives au final de l'oeuvre remarquable de l'artiste ? François Morellet conçoit la scénographie de ses oeuvres entrées dans la collection depuis 1985. Construisant une exposition, il crée un nouveau moment artistique, qui rassemble autant de moments que d'oeuvres. Il propose ainsi au spectateur de s'approprier l'univers induit par la collection pour donner du sens aux rapprochements formels, aux similitudes de temporalités, aux parallélismes de temps, aux projections de plans, aux équivalences spatiales.

Musée d'art contemporain de Lyon 
Site internet : www.moca-lyon.org

June 1, 2007

First Full-Frame Ultrawide 28mm Medium Format Lens

Mamiya Introduces the World’s First Full-Frame Ultrawide 28mm Medium Format Lens for use with Film and Digital Backs.
Mamiya announce the second in a new series of high-resolution medium format lenses designed for use in the digital world... the Mamiya Sekor AF 28mm f/4.5 D Lens.
This newest entry in the Sekor D Lens series is a full-frame, ultrawide lens that utilizes the latest aspheric lens technology to produce high resolution and large image circle coverage for film and digital backs. Since wide angle lenses can cause color shift problems with digital backs (due to the extreme angle at which light rays hit the sensor), the Mamiya 28mm f/4.5 D has been designed to direct light onto the digital sensor at an angle that is ideal for digital photography.
Mamiya Sekor lenses have been admired by both medium format and 35mm film camera users for their superior quality,” says Jeff Karp, Mamiya Product Marketing Manager, “and now this legacy will continue as Mamiya meets and exceeds current optical standards for modern photographic lenses.
Unlike conventional design lenses, the 28mm f/4.5 Sekor D was designed with the requirement that it works with digital and film systems.
Mamiya remains committed to our medium format users, both digital and film-based,” says Jeff Karp, Mamiya Product Marketing Manager, “Our cameras work with both media types, so it’s appropriate that our lenses perform at the same standards.”
The Mamiya Sekor AF 28mm f/4.5 D is ideal for a wide range of applications, including commercial, architectural and outdoor photography.

Mamiya Sekor AF 75-150mm f/4.5 D Lens Designed for Digital and Film Photography

Mamiya announced the first in a new series of high-resolution medium format lenses designed for use in the digital world... the Mamiya Sekor AF 75-150mm f/4.5 D Lens
This is the first entry in the Sekor D Lens series, and has been designed specifically to direct light onto the digital sensor at an angle that is ideal for digital photography. The resolving power of the lens also corresponds perfectly with a high megapixel sensor.
“Mamiya Sekor lenses have been admired by both medium format and 35mm film camera users for their superior quality,” says Jeff Karp, Mamiya Product Marketing Manager, “and now this legacy will continue as Mamiya meets and exceeds current optical standards for modern photographic lenses.”
The Mamiya Sekor Zoom AF 75-150mm f/4.5 D Lens is a medium telephoto zoom lens, with an angle of view of 50 to 26 degrees. The equivalent focal length for a 35mm format is 47~ 93mm.
Its minimum focusing distance is just 3.3 feet, 1.7 feet closer than existing Mamiya AF zoom lenses. This allows for use in a diverse range of photographic scenes, from portraits to landscapes to candids. This versatility makes it indispensable in portrait studios since it lets you “crop” in the camera without changing camera position.
Autofocus and manual focus functions are easily selected with one-touch action. Simply move the focusing ring backwards or forwards. The lens comes with a floral-shaped lens hood that provides a shield against flare over the entire zooming range.

Mamiya ZD 22 MP Digital Back

Mamiya Teams Up with Adobe Systems and Introduces the Mamiya ZD 22 Megapixel Digital Back
Mamiya Digital announced the release of the new Mamiya ZD 22 megapixel Digital Back. The Mamiya ZD Back is compatible with the Mamiya 645AFD II, 645AFD and RZ67 Pro IID, cameras popular among professional photographers and advanced amateurs.
Mamiya’s careful planning in the design of the communication protocol MSCE (Mamiya Serial Communication for External) has successfully optimized two-way communication between our cameras and the digital back,” states Jeff Karp, Mamiya Product Marketing Manager, “this produces a unified operating experience identical to using a one-piece digital camera.”
From the icon-based white balance settings, to the ability to shoot at 1.2 frames per second, to the option of controlling the camera through a computer, the Mamiya ZD Digital Back provides the features and tools needed to easily produce beautiful images. To make this experience even easier, Mamiya will include Adobe Photoshop Lightroom with all ZD Backs.
Save files as RAW, JPEG or both at the same time
The advantages are significant. For optimum results you should save your shots in RAW format. This allows maximum post-shooting manipulation. For high quality images that need to be placed into other programs, use JPEG mode. No special programs or “processing” is needed. However, when you need highest quality plus a file that can quickly be used for positioning only (FPO) in layouts, or quick review, you can shoot both at the same time and process the RAW file later.
Compact Flash and SD Card Compatible
By having the choice of cards (both can be inserted at the same time) you get additional flexibility of storage options. You could tell the back to record to CF, then to SD without the need to remove/replace the card. This lets you keep shooting. It also guarantees you will be able to go to any store in the world and find a compatible storage card. A 4 GB card can store approximately 100 frames of RAW images.
Exclusive Interchangeable IR/Low Pass Filter System
To suit a variety of photographic scenes, the standard IR (infrared) cut filter can be interchanged with the optional Low-Pass filter. The Low-Pass filter reduces or removes moiré effect which makes unusual patterns when photographing clothing and also fixes aliasing. Aliasing is seen when a thin straight line is slightly tilted with respect to the array of pixels. The line will be on one line of pixels, then jump to the next, then to the next, producing a “stairstep” effect. The ability to decide which filter to use guarantees the best possible results over a wide range of situations.
Lightroom software included with the ZD Back
Mamiya is the first camera manufacturer to include Lightroom software with every Mamiya ZD Digital Back. Lightroom is an all-new digital imaging solution for serious and professional photographers. Its ease of operation and ability to read Mamiya RAW digital files makes it the perfect choice for photographers looking for a modular, task-based and streamlined program that delivers a complete photographic workflow solution.

Mamiya ZD 645AFD II Digital System

Mamiya Digital announced an exciting new product – the Mamiya ZD 645AFD II Digital System. The System consists of the Mamiya 645AFD II Medium Format Camera with 80mm f/2.8 AF lens and the newly introduced Mamiya ZD 22 Megapixel Digital Back. At a retail price of $9,999, the digital system marks a new era in the high-end digital market.
Mamiya has always been a manufacturer of high quality, professional products at reasonable prices,” states Jeff Karp, Mamiya Product Marketing Manager, “By offering this incredible system for under $10,000, we expect to see a broad range of photographers who have been waiting for the right combination of quality and price, to finally step into the medium format digital world.”
The platform for the system is the highly acclaimed Mamiya 645AFD II autofocus medium format camera with 80mm f/2.8 AF lens. With an excellent range of high quality lenses, precise auto-focusing and fast handling, the 645AFD II has become the choice of professional photographers.
The Mamiya ZD Digital Back offers all the features serious photographers demand. “Mamiya’s communication protocol MSCE (Mamiya Serial Communication for External) has optimized two-way communication between the 645AFD II and the ZD Digital Back,” says Karp, “producing an operating experience identical to using a one-piece digital camera.”
To further enhance the results of the ZD Digital Back, Mamiya is including Adobe Photoshop LightroomTM software with all ZD Backs. Mamiya is the first camera manufacturer to include Lightroom software with every Mamiya ZD Digital Back sold. Lightroom is an all-new digital imaging solution for serious and professional photographers. Its ease of operation and ability to read Mamiya RAW digital files makes it the perfect choice for photographers looking for a modular, task-based and streamlined program that delivers a complete photographic workflow solution.

Rétrospective Erwin Wurm, Musée d’art contemporain de Lyon

Erwin WURM : Rétrospective
Musée d’art contemporain de Lyon

6 juin - 5 août 2007

Le Musée d'art contemporain de Lyon présente du 6 juin au 5 août 2007, une importante rétrospective des oeuvres de l'artiste ERWIN WURM. Conçue pour les espaces du musée de Lyon, cette exposition d'une ampleur exceptionnelle, présente plus d'une centaine d'oeuvres de l'artiste, avec des pièces rares telle que la Fat House, (étonnante maisonnette devenue géante comme si elle avait été soudainement gonflée) appartenant à la West Collection (USA), mais également la toute première Fat Car (voiture déformée comme prête à exploser), ou encore, l'étonnant Truck, (camion dont l'arrière remonte sur le mur défiant les règles de l'apesanteur) spécifiquement réalisé pour Lyon.

Exprimant sa vision du monde avec beaucoup d'humour, à travers vidéos, sculptures, photographies ou installations, Erwin Wurm propose entre autres ses Instructions on How to be politically incorrect, ou encore ses One minute sculptures qui l'ont rendu célèbre et avec lesquelles le visiteur est invité à expérimenter lui-même la notion de sculpture.

Né en 1954 à Bruck en Autriche et formé à la Kunstakademie de Vienne, Erwin Wurm s'inspire autant de Fluxus que de la dérision Dada pour dénoncer, avec une légèreté mêlée de gravité, un quotidien illusoire et l'incongruité de nos existences. Dans ses tout premiers travaux, l'artiste semble vouloir se signaler par son absence avec ses pièces de poussière réduites à une simple empreinte ou ses vêtements accrochés, vides et fragiles enveloppes corporelles. Sculpteur à l'origine, il s'inspire, dans ses dessins, photographies et vidéos, de nos rapports avec les objets usuels dont il détourne l'usage. Attentif aux petits gestes et à l'absurdité du quotidien, le travail de Wurm développe une analyse de la sculpture - de son volume, de son poids, de l'équilibre, du déséquilibre - qui devient pour lui manière de vivre, de mettre en scène, de perturber nos codes et nos habitudes. Avec ses célèbres One Minute Sculptures (1997), Erwin Wurm nous propose une vision originale de la sculpture dans laquelle des actions humaines habituelles sont modifiées, décalées, ou détournées pour un bref instant.

" En se servant du corps humain - et notamment du sien - comme matériau, en utilisant des objets du quotidien, en faisant du temps une dimension essentielle de son travail photographique et vidéo, il a remis en question les fondements de la sculpture - Comment créer une sculpture qui ne soit ni figée dans le temps, ni dans l'espace ? Une sculpture peut-elle devenir un objet quotidien ? ". One Minute sculpture, devient alors le titre générique de ses oeuvres : Erwin Wurm les réalise en invitant une personne, à suivre un protocole simple, en se mettant par exemple en situation temporaire avec un vêtement ou un objet.

Mais Erwin Wurm interroge également dans ses sculptures, les apparences et la réalité qu'elles masquent : le sens de la possession et de l'accumulation. Il développe des recherches sur le processus de création, basées sur les transformations des formes et du poids. Il crée ainsi d'étranges objets ou encore des personnages rendus difformes, exagérément boursouflés, à la limite de l'éclatement. En laissant le visiteur exécuter lui-même sa sculpture Erwin Wurm tend à créer des situations déconcertantes, provocant confusion ou stupéfaction mais conduisant toujours à une réflexion nouvelle emprunte d'humour et de plaisir.

MOCA - Musée d’art contemporain de Lyon
Cité Internationale, 81 quai Charles de Gaulle, 69006 Lyon