October 30, 2007

Eye-Fi World First Wireless SD Memory Card

Eye-Fi 2GB SD Card Uses Wi-Fi to Automatically Upload Photos to Computers and Online Photo Sharing and Social Networking Sites
Eye-Fi Inc. today unveiled the Eye-Fi Card — the world’s first wireless SD memory card for digital cameras. The Eye-Fi Card uses home Wi-Fi networks to create an effortless and convenient way for users to send photographs directly from digital cameras to PCs, Macs and online photo and social networking sites. Priced at $99.99 with 2GB of storage, the Eye-Fi Card is available now from major online retailers.
“Digital cameras have made it extremely easy to take pictures, but the rest of the process is a hassle,” said Jef Holove, chief executive officer of Eye-Fi. “The Eye-Fi Card removes the barriers and lets users get to the fun part of sharing and printing their memories. We’re putting the magic back into photography.”
Eye-Fi uses home wireless networks to eliminate the time-consuming chore of dealing with cables, card readers or software plug-ins associated with uploading photos. Users simply turn on their digital camera and their pictures are wirelessly uploaded. The Eye-Fi Card works with existing and new SD-compatible digital cameras and stores photos like a conventional SD memory card.
“We know that a large percent of digital images captured each day are never printed or shared. That adds up to significant lost revenues for photo sharing and printing sites,” said IDC analyst Ron Glaz. “We anticipate wireless cameras will fundamentally change the way people manage their digital photographs in the future and believe that the Eye-Fi Card will help drive these changes.”
How the Eye-Fi Card Works
During a simple set-up process, users can select from among 17 popular online photo sharing, printing, social networking or blogging sites to share their photographs, and select where on their PC or Mac they want to archive their images. Once the set-up is complete, users can focus on taking pictures and sharing memories — and not on the process of uploading photos from their camera.
Eye-Fi’s free upload service allows users to transfer an unlimited number of photos. It handles full-resolution JPEG pictures and intelligently resizes the images if required by the selected online destination.
We’re thrilled to be among the first to sell the Eye-Fi Card and we expect it to be a big hit for the holidays,” said Aaron Maguire of Buy.com. “Eye-Fi understands how time-starved our customers are, and this solution matches their needs.”
The 2GB wireless SD memory card, which holds approximately 1,000 images, is available now at major online retailers for $99.99 USD. For more information, please visit http://www.eye.fi/.
About Eye-Fi

Online Photos Destinations support Eye-Fi

Eye-Fi Card allow users to automatically upload photos from their digital camera directly to 17 online photo sharing, printing, social networking and blogging sites.
Eye-Fi users are free to select from popular online photo destinations including KODAK Gallery, Shutterfly, Wal-Mart, Snapfish, Photobucket, Facebook, Webshots, Picasa Web Albums, SmugMug, Flickr, Fotki, TypePad, VOX, dotPhoto, Phanfare, Sharpcast and Gallery.
We’ve eliminated the hassle and made it simple for users to do more with their photos,” said Ziv Gillat, co-founder and vice president of marketing and sales for Eye-Fi. “By partnering with 17 of the top online photo destinations, we’re giving users the greatest choice and flexibility to do what they want with their photos — from posting to a blog, printing them for relatives, or sharing them online with friends.”
KODAK Gallery is committed to helping people tell their stories and we are thrilled that the new Eye-Fi Card will help people free their pictures from their cameras so they can share them with friends and family,” said Mark Cook, worldwide director of marketing for KODAK Gallery. “We’re excited that our customers can now spend less time dealing with the upload process and more time creating beautiful and meaningful personalized holiday items like cards, calendars, photo books, and more.”
Eye-Fi users can also choose from top social networking, digital media and blogging sites including Photobucket, Facebook, TypePad and VOX.
User-generated content is now a defining feature of the online experience, especially when it comes to linking and sharing that content across social networks,” said Alex Welch, president of Photobucket, one of the Web’s most popular creative hubs. “Eye-Fi has made it even easier for Photobucket users to express themselves, and share photos with their community of friends and family.”
About Eye-Fi, Inc.
About Eastman Kodak Company - Kodak is the world’s foremost imaging innovator. With sales of $10.7 billion in 2006, the company is committed to a digitally oriented growth strategy focused on helping people better use meaningful images and information in their life and work. Consumers use Kodak’s system of digital and traditional products and services to take, print and share their pictures anytime, anywhere; Businesses effectively communicate with customers worldwide using KODAK solutions for prepress, conventional and digital printing and document imaging; and Creative Professionals rely on KODAK technology to uniquely tell their story through moving or still images. More information about Kodak is available at http://www.kodak.com/
About Photobucket - Photobucket is one of the Web’s most popular hubs for managing media. Photobucket’s users upload, link to, share and search for billions of personal photos, graphics, and videos every day. The company was founded in 2003 and acquired by Fox Interactive Media, Inc., a division of News Corp., in July 2007. The company is headquartered in Denver, Colo. with offices in Palo Alto, Calif., and is available online at http://photobucket.com/

October 27, 2007

Carla Accardi, Galerie Greta Meert, Brussels

Carla Accardi
Galerie Greta Meert, Brussels
October 26 - November 24, 2007

Carla Accardi, who lives and works in Rome, became widely known in the early 1950s for her radical and individual style that departed from both Italian provincialism and post-cubism. In 1947 she co-signed the Forma 1 Manifesto, with artists such as Dorazio, Sanfilippo and Turcato, who were to develop and propagate a more analytical approach to art.

She fills the canvas with a strict lexicon of abstract forms that continuously manage to strike a balance between writing and drawing, as well as between the painting and the sign.

The fresh modernity of her work resides in covering linen canvas, paper or plastic with mechanically applied patterns or antpatterns.

At times the pictorial writing breaks out of the frame format and starts to overrun transparent surfaces or tents. The latter are actualpainted housing units that remind us of Mario Merz’s igloos, but rather without the archaeological and primitive aspects that characterize Arte Povera.

For her present exhibition in Galerie Greta Meert the artist has selected some recent canvases and gouaches on paper. The work on linen canvas presents a very lively ensemble of colours and forms that are reminiscent of her work on plastic (Sicofoil) from the 1960s.

In some pieces Carla Accardi leaves the supporting canvas partly unpainted in reference to writing on paper.

Her work has kept its impressive beauty and power for over 40 years, and through its artistic consistency richly expressed in cheerful and optimistic signs, it has provided a fertile source of inspiration for numerous young Italian artists.

It is commonly accepted among art critics that Carla Accardi, like Marisa Merz, has been one of the most extraordinary female artists of her generation.

This is Carla Accardi’s fifth exhibition in Galerie Greta Meert.

13 rue du Canal, 1000 Brussels

Updated 30.06.2019

October 26, 2007

Phase One Microsoft Strategic Alliance

Microsoft and Phase One Form Strategic Alliance to Improve Digital Photography Solutions Microsoft Corp and Phase One will work together to develop solutions for the Microsoft Windows platform that further innovation in the digital photography space. The alliance combines Phase One’s industry expertise with Microsoft’s widely used platform technology and includes technology sharing and intellectual property assets as well as joint marketing. “Microsoft and Phase One are joining forces to develop solutions for the Windows platform that meet the sophisticated needs of professional and ‘prosumer’ photographers,” said Kostas Mallios, general manager of the Rich Media Group at Microsoft. “Today’s announcement is another example of Microsoft’s commitment to our customers and the digital imaging industry.” Microsoft has a strong record of making investments in digital imaging technology for Windows Vista, HD Photo, Photosynth, Digital Image Suite and other products that provide superior solutions for professional photographers and enthusiasts alike. The alliance builds on Microsoft’s focus in the digital imaging market by ensuring that professional-quality tools for the Windows platform are accessible enough for enthusiasts. Phase One has a deep knowledge of the industry, having built software that streamlines the image-capture and post-production process for 14 years. “Professional photographers are always looking for ways to reduce the amount of time they spend in front of the computer,” said Henrik Hakonsson, CEO of Phase One. “At the same time, enthusiasts want professional-quality tools but don’t want to be bogged down with features and functions they won’t use. We believe our combined expertise in digital imaging technology will help address these unmet needs to the benefit of our digital back customers and our digital SLR software customers.” Related Post Phase One and Mamiya Digital Imaging Strategic Alliance

October 22, 2007

FIAC 2007: Acquisitions de l’Etat


Le ministère de la Culture et de la Communication a procédé pour la troisième année consécutive à une série d’acquisitions d’œuvres exposées à la 34ème édition de la Foire internationale d’art contemporain (18-22 octobre 2007). Ces œuvres viendront enrichir la collection du Fonds national d’art contemporain.

La commission nationale consultative en charge des acquisitions Arts plastiques a proposé l’acquisition des oeuvres dont la liste se trouve dans la suite de ce message.

Ces acquisitions représentent un budget de 400.000 euros.

Les œuvres acquises par le Centre national des arts plastiques viendront enrichir les collections publiques et seront inscrites sur les inventaires de la collection du Fonds national d’art contemporain.

Le Fonds national d’art contemporain est la plus grande collection internationale d'art vivant rassemblée en France. Constituée par les achats et commandes effectués auprès des artistes en activité et des galeries, la collection s’est enrichie, depuis 1981, de plus de 20.000 oeuvres relevant aussi bien des arts plastiques et de la photographie, que des arts décoratifs et du design.

Le Centre national des arts plastiques en assure la gestion pour le compte de l’Etat, ainsi que sa conservation. Il s’occupe également de la diffusion de la collection par une politique active de dépôts, dans les musées, les administrations et lieux publics, mais, également de prêts lors d'expositions temporaires en France et à l'étranger. Par ailleurs le Centre national des arts plastiques organise chaque année des expositions en région constituées uniquement d’oeuvres de la collection.

Ainsi, du 22 octobre 2007 au 16 décembre 2007, est organisée l’exposition « Début de Siècle, un choix dans la collection du Fonds national d’art contemporain », en partenariat avec le musée départemental d’art contemporain de Rochechouart.


Membres de la commission :

La commission nationale consultative en charge des acquisitions se compose de 9 personnalités qualifiées pour les arts plastiques et de 5 responsables, dans le même domaine, du ministère de la Culture et de la Communication. 

Artistes : Daniel FIRMAN, Bernard PIFFARETTI
Collectionneurs : Bruno CARON, Michel POITEVIN
Critiques d’art : Henri-François DEBAILLEUX, Philippe PIGUET
Deux directeurs de lieux de diffusion en région: Le directeur général du musée d’art moderne de Saint-Étienne : Lorand HEGYI, Le directeur du FRAC Champagne-Ardenne François QUINTIN
Une conseillère pour les arts plastiques DRAC Ile de France : Isabelle MANCI
Ministère de la Culture et de la Communication : Olivier KAEPPELIN, délégué aux arts plastiques
Chantal CUSIN-BERCHE, directrice du CNAP
Bernard BLISTENE, inspecteur général de la création artistique, Délégation aux arts plastiques
Christian BRIEND, conservateur à la DMF Camille MORINEAU, conservateur au MNAM-CC



Dennis ADAMS, Make down Vanity, 2006. Vidéo couleur avec son, 26 mn, 2/5. Galerie Gabrielle Maubrie, Paris

Eleanor ANTIN - 2 oeuvres :
The King, 1972. Vidéo d’après film original, 52mn, Galerie Erna Hecey, Bruxelles
Portrait of the King, 1972. Photographie noir et blanc, 58 x 47 cm, 1/1, Galerie Erna Hecey, Bruxelles

Kader ATTIA, Skyline, 2007. Réfrigérateurs, peinture noire et tesselles de miroirs, 1/3. Galerie Anne de Villepoix, Paris

Robert BARTA, Rosso Corsa, 2007. Glissière de sécurité laquée, 80 x 450 x 50 cm. Galerie Frank Elbaz, Paris

Vincent BEAURIN, Coco, 2007. Polystyrène et sable, 167 x 89 x 40 cm. Galerie Frédéric Giroux, Paris

Inaki BONILLAS, Una Tarjeta para J. R. Plaza, 2007. Impression digitale pigmentée sur papier coton, Galerie Projecte SD, Barcelone

Tony BROWN, Pinocchio, Truth, Lies, 2007. Photographie Cprint sur aluminium, 110 x 70 cm, 1/ 5, Galerie Collet Park, Paris

Isabelle CORNARO, Savana (12 paysages différents), 2007. Impression numérique sur papier, série de 12 photographies. 35 x 50 cm chaque, Galerie De Multiples, Paris

Tony CRAGG, Sans Titre, 2000. Aquarelle sur papier, 75,5 x 56 cm, Galerie Karsten Greve, Paris

Matali CRASSET, Nature à habiter : chaise longue, 2007. Bouleau, vernis et peinture laquée, 283 x 122 x 83 cm, Galerie Thaddaeus Ropac, Paris

Wim DELVOYE, Action Doll, 2007. Poupée et 4 tee-shirts, 37 x 17 x 40 cm, Galerie Emmanuel Perrotin, Paris

Véronique ELLENA, Le Pas des ondes, 2006. Photographie couleur, 31 x 39,5 cm, 1/10, Galerie Alain Gutharc, Paris

Mounir FATMI, Connection, 2004-2007. Photographie couleur, 100 x 75 cm, édition à 5 exemplaires, Galerie LA BANK, Paris

Ceal FLOYER, Monochrome Till Receipt (White), 2006. Encre sur papier, 28 x 8 cm, Galerie Esther Schipper, Berlin

Joanne GREENBAUM, Ice Sculpture, 2004. Huile sur toile, 127 x 178 cm, Galerie Nicolas Krupp, Bâle

Camille HENROT, King Kong Addition, 2006. 5 exemplaires + 5 photographies couleur sans titre, 20,8 x 26,3 cm chaque, édition de 3, Galerie Kamel Mennour, Paris

Changha HWANG, Eyetime, 2007. Acrylique sur toile, 213 x 213 cm, Galerie Baronian Francey, Bruxelles

Armand JALUT - 2 oeuvres :
Doigt crumble, 2007. Huile sur toile, 100 x 81 cm, galerie Michel Rein, Paris
La Limace, 2007. Huile sur toile, polyptyque, 61 x 50 cm, 61 x 54 cm, 65 x 50 cm, 65 x 50 cm, Galerie Michel Rein, Paris

Véronique JOUMARD, Travelling II (Hiroshima), 2004. Photographie couleur contrecollée sur aluminium, 180 x 180 cm, édition de 3, Galerie Serge le Borgne, Paris

Julius KOLLER - 2 oeuvres :
Yo yo, 1982. Photographie couleur, Galerie gb agency, Paris.
Anti-Performance, 1980. Photographie couleur, Galerie gb agency, Paris.

Frédéric LECOMTE, Sac de nœuds, 1995-2007. Verre sablé et moteur, 100 x 150 cm, Galerie Claudine Papillon, Paris

Tobias LEHNER, Sans titre, 2007. Acrylique sur toile, 230 x 400 cm, Galerie Suzanne Tarasieve, Paris

Frédérique LUCIEN, Dessin, 2007. Pastel gras et calque additionné, 138 x 110 cm, Galerie Jean Fournier, Paris

Arnaud MAGUET, Fender, Vox et Marshall de la série « Le Caractère fétiche de la musique ». Toile d’amplificateur sur châssis. 3 x (70 x 55 cm), Galerie La Blanchisserie, Paris

Christian MARCLAY, Stereo (série Imaginary Records), 1987. 2 pochettes de disque recollées, 30 x 40 cm, Galerie Paula Cooper, New York

Philippe MILLION, Buffet Combeau. Bois, contreplaqué, medium et peinture, 140 x 110 x 40 cm, 2/7, Galerie Alain Gutharc, Paris

Ivan NAVARRO, The Edge, 2007. Porte en aluminium, miroir et ampoules, 218 x 91,5 x 24 cm, 1/3 + 1EP + 1EA, Galerie Daniel Templon, Paris

Joao ONOFRE, Untitled Version (I see a Darkness), 2007. Vidéo couleur avec son, 4m’18, 1/6, Galerie Cristina Guerra Contemporary Art, Lisbonne

Alexandre PERIGOT, Funky pipe. Aluminium, inox et moteur, 210 x 70 x 70 cm. Galerie Grégoire Maisonneuve, Paris

Guillaume PINARD, Sans Titre, 2007. Crayon sur papier, 250 x 150 cm, Galerie Anne Barrault, Paris

Philippe STARCK – 2 œuvres :
Miss Wirt, 1982. Métal peint, assise et dossier en tissu et cuir, Galerie Peyroulet, Paris
Miss Beason, 1983. Métal peint, cordon et canevas synthétique, Galerie Peyroulet, Paris

Stéphane THIDET, Refuge, 2007. Photographie couleur, 90 x 120 cm, 1/5, Galerie Aline Vidal, Paris

Cécilia TRIPP, Boogie Man, 2007. Film 16 mm, 1’50, 1/3 + 2 AP, Galerie Grégoire Maisonneuve, Paris

Catherine VAN EETVELDE, Glu, 2007. Film d’animation, 3m’, 3/12, Galerie Anne Barrault, Paris

Danh VO, Sans Titre, 2007. Installation composée de 4 sculptures en bois dans 4 caisses en bois. Isabella Bortolozzi, Berlin

Pavel WOLBERG, Sans Titre, 2005. Photographie couleur, Cprint, 1/3, 100 x 150 cm, Dvir Gallery, Tel Aviv

Virginie YASSEF, Astéroïde rampant, prévision pour un astéroïde-étoile, 2007. Roche magnétique et billes de fer, système électrique. 40 x 40 x 4,5 cm, Galerie Georges-Philippe et Nathalie Vallois, Paris

Expo Giacometti Oeuvre gravé BnF

Exposition : 
Alberto Giacometti, œuvre gravé 
Collections de la Fondation 
Alberto et Annette Giacometti  
et de la Bibliothèque nationale de France 
BnF Richelieu, Paris 
19 octobre 2007 - 13 janvier 2008 

Alberto Giacometti a pratiqué l’estampe tout au long de sa vie, soit à titre expérimental, soit pour répondre à des commandes d’éditeurs. Son œuvre gravé n’a, à ce jour, jamais fait l’objet d’une exposition rétrospective. Organisée en collaboration avec la Fondation Alberto et Annette Giacometti, l’exposition proposée par la BnF présente une sélection d’estampes de l’artiste. A cette occasion, la Fondation fait don à la Bibliothèque de 14 planches, dont un rare portrait de Tristan Tzara sur chine. 

Fils du peintre Giovanni Giacometti, ALBERTO GIACOMETTI (1901-1966) s’est essayé très tôt à la gravure sur bois. Arrivé à Paris au début des années 1920, il fréquente l’atelier 17, animé par Stanley William Hayter qui l’initie à la taille-douce et lui donne le goût de l’expérimentation dans ce domaine. Naissent de ses recherches quelques gravures dont la Fondation Alberto et Annette Giacometti possède des épreuves. Il fréquente alors le milieu surréaliste et sa collaboration avec les écrivains débute également dès cette époque : il réalise ainsi des planches pour Les Pieds dans le plat de René Crevel (1933) et L’Air de l’eau d’André Breton (1934).  

Alberto Giacometti participera ensuite à une cinquantaine d’ouvrages, réalisant tantôt un frontispice comme pour La Folie Tristan de Gilbert Lély (1959) ou La Danse du château de Miguel de Cervantes (1962), tantôt une suite de planches comme pour Vivante cendres innommées de Michel Leiris (1961), ou Retour Amont de René Char (1965). Plusieurs ouvrages donnent lieu à des recherches infinies, tel  Histoire de rats de Georges Bataille (1947), pour lequel Giacometti créa en tout 31 gravures différentes dont la Fondation Alberto et Annette Giacometti possède de nombreux exemplaires et états successifs qui permettent de suivre pas à pas la démarche du graveur. Certains projets n’ont jamais abouti, parmi lesquels figure  Mais si la mort n’était qu’un mot, texte et poèmes de René Crevel illustrés par Giacometti, dont la Fondation possède la maquette, les cuivres et des tirages rares.  

Giacometti a également créé des estampes en feuille, lithographies et eaux-fortes, le plus souvent pour répondre à la demande d’éditeurs, déclinant dans ses techniques les thèmes qui lui sont chers : son atelier, Annette, Diego, sa mère, des portraits de proches, des vues de Paris. 

Il pratique la lithographie dans l’atelier du grand imprimeur de l’époque, Fernand Mourlot. Beaucoup de ses lithographies et de ses eaux-fortes ont été éditées par Maeght, qui commande en outre à Giacometti des planches pour plusieurs numéros de Derrière le miroir.  

Paris sans fin (1969) constitue le chef-d’œuvre de son œuvre imprimé : à travers 150 planches dessinées avec une grande liberté au crayon lithographique, Alberto Giacometti livre un portrait personnel de la capitale et des lieux qui lui sont familiers.  

La Bibliothèque nationale de France possède une part importante de ses éditions, tant au département des Estampes et de la photographie qu’à la Réserve des livres rares. L’exposition montre le processus de création de l’artiste dans le domaine de l’estampe, à travers la présentation de ses réalisations majeures, mais également de matrices, travaux préparatoires, épreuves non retenues ou retouchées provenant des collections de la Fondation Giacometti, la plupart montrées pour la première fois.   

Une trentaine de livres illustrés sont présentés, ainsi que 136 estampes dont 109 issues des collections de la Fondation Giacometti, et 6 dessins de la même provenance. 

Commissaires de l'exposition :
Céline CHICHA, Conservateur au département des Estampes et de la photographie de la BnF  
Véronique WIESINGER, Conservateur en chef du Patrimoine, Directrice de la Fondation Alberto et Annette Giacometti 

En présentant l’œuvre gravé de l’artiste, la BnF offre un regard complémentaire de celui proposé en parallèle par le Centre Pompidou, à l’occasion de l’exposition « L’Atelier d’Alberto Giacometti » qui a lieu jusqu'au 11 février 2008. 

Site Richelieu - Galerie Mazarine 
58, rue de Richelieu 
75002 Paris 


October 18, 2007

Hasselblad H3DII-39 DSLR

Hasselblad H3DII-39 DSLR

In response to market demands to continue the development of DSLR technologies for new applications, Hasselblad today announces the H3DII-39MS, a multi-shot version of the recently announced H3DII-39 DSLR that will deliver digital images of the finest quality for architectural and still life photography. Previously available only on Hasselblad multi-shot digital backs, much of the multi-shot technology in the new H3DII-39MS comes from the extremely popular 39 megapixel Hasselblad CF-39MS digital back. Combining the benefits of the CF-39MS’s multi-shot technology with the full functionality and integration of the H3DII-39 DSLR, the H3DII-39MS completely eliminates the need to interpolate images and enables both single- and multi-shot DSLR capability, giving photographers the ultimate in flexibility and moiré-free image quality.

H3DII-39MS users will gain the full benefits of all the key features of the new H3DII DSLR system, providing outstanding pixel resolution, better colors, and improved detail rendering. Such features include a new RAW converter; Ultra-Focus™, which compensates for minute changes in the plane of focus resulting from changes in aperture; and DAC-Digital Auto Correction™, which offers digital APO correction, digital distortion correction, and now anti-vignetting to deliver for the first time full digital lens correction, when used with Hasselblad HC and HCD lenses.

The H3DII-39MS will not be film compatible, but, as with the H3D and H3DII product families, will offer photographers the ability to use the digital magazine, which contains the sensor unit and related technology, on a view camera via an adapter.

Christian Poulsen, CEO of Hasselblad, comments: “For more than fifty years, it has been Hasselblad’s mission to enable photographers to create the finest images possible, and it is clear that today the best way to accomplish this is with an integrated DSLR. An integrated system produces the highest image quality, due to the fact it enables the integration of all key components, including the lenses, within the camera system, and in the H3DII also enables features such as Ultra-Focus and DACDigital Auto Correction, allowing Hasselblad to offer customers full digital lens correction for the first time ever. With the H3DII-39MS, in addition to single-shot technology, we’ve included our multi-shot technology to offer professional photographers of still life and architecture a camera system that gives them image quality equal or in many cases superior to anything they’ve experienced before, as well as the functionality, flexibility and ease of use of a digital system.”

Further acknowledging the specific demands of film photographers, Hasselblad is also announcing the H2F, a simplified, film-only version of the H2 camera, which it is replacing. By removing the highend digital imaging technology found in the H2, which is unnecessary for shooting with the film-only H2F, and therefore simplifying the manufacturing process, Hasselblad is able to offer the H2F at a substantially lower price than the H2. The H2F offers full compatibility with H System HV viewfinders, film magazines, and HC lenses.

It is Hasselblad’s strategy to excel in the high-end segment of the photographic market and offer camera systems that deliver the best image quality and the most flexibility. While the company offers the premier DSLR solution with the H3DII product line and will support the legacy of film photography with the H2F camera, market demand does not justify the cost of maintaining the additional manufacturing line for the dual-platform H2. In keeping with its customer-centric modus operandi, Hasselblad will, however, continue to offer service and support for H1 and H2 owners for a minimum of 7 years from date of purchase. Meanwhile, the H3DII, H3DII-39MS and the H2F are being assembled in Copenhagen, Denmark and Gothenburg, Sweden, on new production lines engineered specifically for their unique designs and assembly requirements.

The H3DII-39MS will be available from January 2008 and the H2F from November 2007 worldwide through Hasselblad’s national subsidiaries and channel partners with a retail price of €33,500 for the H3DII-39MS, and €2,100 for the H2F camera body and €6,460 for the H2F camera kit, excluding tax. An attractive trade-in program has been announced that enables current Hasselblad users, as well as users of third party digital backs, to upgrade to the H3DII system, including the H3DII-39MS.


October 16, 2007

Julien Berthoud, Expo Photo Paris


Photo © Julien Berthoud


JULIEN BERTHOUD, Photographies

Images de l’intranquillité

Expo Photo des Rencontres Photograhiques du 10e



  Photo © Julien Berthoud


« Le réel ne m’intéresse pas comme quelque chose dont je voudrais rendre compte, mais plutôt comme un réservoir de couleurs, de lignes, de formes et de symboles que je combine pour essayer de créer des tensions et des sensations. La série " images de l’intranquillité " est née du désir de créer des images formellement épurées et minimalistes qui à la fois reposent l’oeil et interrogent le ressenti. Dans un dénuement autant apaisant qu’inquiétant, ces photos essaient de dire le doute, l’équilibre, la fragilité »  -  Julien Berthoud


Paris - Mairie du 10e, du 16-10 au 30-11-2007 (lien infos)

Anji - Expo Photo Paris


Photo © Anji


ANJI, Photographies

Extase - To Phil Glass

Expo Photo des Rencontres Photograhiques du 10e



  Photo © Anji


« Avec ces vues cavalières d’un même lieu à la géomorphologie variable, ma volonté est de composer en images une musique à structure répétitive, de créer un temps hypnotique où le regard est immergé dans un temps qui enveloppe, s’enroule, tournoie, s’amplifie, se perd et se retrouve » – Anji


Paris - Mairie du 10e, du 16-10 au 30-11-2007 (lien infos)

Expo Photo Collective, Paris, Mairie 10e


Cette exposition collective de photographies à la Mairie du 10e arrondissement de Paris est l'un des rendez-vous de la seconde édition des Rencontres Photographiques du 10e qui a lieu du 16 octobre au 30 novembre 2007. Ce sont 20 photographes qui ont été sélectionnés sur dossier. Sont réunis des photos de professionnels et d’amateurs dont un bon nombre a déjà participé à la première édition de ces rencontres photographiques. Les commissaires de cette exposition sont Arno Gisinger et Etienne Hatt.

Voici la liste, par ordre alphabétique, des photographes participant à cette exposition. Pour chacun d'eux, un message donne des informations sur le travail qu'ils présentent et/ou sur les photographes eux-mêmes.



Julien Berthoud

Eric Boumier

Marie Bourdeau

Hsin Yin Chang

Francis Cochard

Jean-Michel Delage

Clémence Dubois

Christian Grau

Anthony Jahn

Jean-Bastien Lagrange

Marti Mueller

Cécilia Garroni Parisi

Ian Patrick

Michel Rolin

Marion Roux

Régis Sénèque

Christophe Siebert

Baptiste de Ville d’Avray

Florence Wetzel


Mairie du 10e - Hall de la Mairie
72, rue du Faubourg Saint-Martin
75010 Paris
M° Château d’Eau / Strasbourg Saint-Denis
Lundi de 8h30 à 17h
Mardi de 8h30 à 19h
Mercredi de 8h30 à 18h
Jeudi de 8h30 à 19h30
Vendredi de 8h30 à 19h
Samedi de 9h à 12h30

du 16 octobre au 30 novembre 2007

Site internet : http://rencontresphoto10.free.fr

October 15, 2007

Kentmere Photographic Acquired by Harman

HARMAN technology Limited, the company behind ILFORD PHOTO and HARMAN PHOTO, has announced the addition of KENTMERE PHOTOGRAPHIC Limited to its business. The move, which comes following a period of extensive negotiations.
Following the buy-out, Harman is keen to stress that the Kentmere brand will remain relatively unchanged. It will continue to offer the same resin coated and fibre based monochrome papers and inkjet products, including Opaljet, whilst employing the same marketing approach. On the Harman's press release we can read : "In fact, the key difference will be that the Kentmere brand will now enjoy the benefits of being backed by a larger organisation. In particular, the brand will have access to the additional expertise and investment, as well as the established export channels (to markets such as the United States), to take its success further". Speaking of the deal, Harman’s Chairman and Managing Director, Phil Harris said: “Harman has an acquisitive growth policy and is keen to be seen as the natural home for high-quality imaging products. We have bought Kentmere recognising it is a strong brand with a massive amount of potential and knowing we can add what’s required to help bring that potential to fruition. Our size, established infrastructure and ability to invest into the Kentmere brand, will help to open new doors and opportunities for its products.” “At the same time, Kentmere will also add an extra dimension to our business. It will extend our product portfolio and allows us to target an even wider range of the market.”

October 14, 2007

Expo Michelangelo Pistoletto, MAM Saint-Etienne Métropole : Love Difference et Arte Povera

Michelangelo Pistoletto :  Love Difference, Artistic movement for an InterMediterranean Politic
Musée d'art moderne de Saint-Etienne

Jusqu'au 18 novembre 2007

Une installation de Michelangelo Pistoletto :  Love Difference, Artistic movement for an InterMediterranean Politic est présentée au Musée d'art moderne de Saint-Etienne Métropole jusqu'au 18 novembre. Il s’agit d’une grande table en miroir, découpée selon la forme de la mer Méditerranée ; elle est accompagnée de 20 chaises,  toutes différentes, représentant les pays du littoral méditerranéen et d’une série de productions artistiques relatives au projet. 

michelangelo-pistoletto Michelangelo Pistoletto
Love Difference, Artistic movement for an InterMediterranean Politic
Courtesy Michelangelo Pistoletto, Musée d'art moderne de Saint-Etienne Métropole, Fondation Pistoletto Cittadellarte

Michelangelo Pistoletto (Biella, Italie, 1933) est un des membres fondateur du mouvement Arte Povera à la fin des années 1960.

En 1998, Michelangelo Pistoletto crée la Fondation Pistoletto Cittadellarte. Celle-ci s'inscrit dans le cadre de son projet de mettre l'art en interaction directe avec tous les domaines de l'activité humaine qui constituent la société. Michelangelo Pistoletto conçoit  sa Fondation comme un grand laboratoire, « un générateur d’énergie créative » dont l’objectif est de « produire des changements responsables dans la société par des idées et des projets créatifs ».

Love Difference est un des projets issus de la fondation de Michelangelo Pistoletto, en 2002. Au sein du bureau politique de la fondation, Love Difference rassemble des personnes  et des institutions du pourtour méditerranéen pour construire de nouvelles perspectives dépassant les conflits de culture et de civilisation. Parmi les membres fondateurs de Love Difference figurent des personnalités du monde de l’art et de la culture mais aussi des professeurs d’économie, de géographie, de sociologie. Love Difference est un réseau qui sert de point d’encrage au partage d’expériences et de connaissances entre  des personnes de disciplines différentes qui ont en commun la conviction que la  création peut participer à la transformation de la société. Ainsi chaque année, des projets de jeunes artistes reçoivent le soutien logistique, financier et humain du réseau Love Difference. Sont également organisés des événements, des rencontres  et des expositions afin de sensibiliser le public à l’importance de la rencontre des cultures. C'est dans cet esprit qu'a été organisé le 15 septembre, jour du vernissage de l'exposition, un débat autour de la table en miroir de l'installation Love Difference rassemblant des responsables économiques et politiques locaux, José Guirao (Espagne, directeur de centre culturel), Dimitri Konstantinidis (Grèce, réseau Apollonia), Ruth Barabash (Israël, artiste), Mathieu Copeland (France, commissaire d’exposition), Enver Hadziomerspahic (Sarajevo, projet Ars Aevi), Sania Pappa (Grèce, critique d’art), Assan Smati (France, artiste) et d’autres acteurs du monde de l’art et de l’économie.

Plus d’informations sur la Fondation Pistoletto Cittadellarte et le projet Love Difference : www.cittadellarte.it et www.lovedifference.org

Le Musée d'art moderne de Saint Etienne présente également un hommage à Michelangelo Pistoletto avec des oeuvres du mouvement Arte Povera appartenant à la collection du musée parmi lesquelles Il radici del verde bosco, une oeuvre majeure de Giuseppe Penone, acquise récemment par le musée de Saint-Etienne Métropole, ainsi que des travaux de Mario Merz, Alighiero Boetti, Gilberto Zorio et Giovanni Anselmo.


Chaim Soutine, Pinacotheque de Paris

Chaïm Soutine
Pinacothèque de Paris
October 10, 2007 - January 27, 2008

A central figure in the artworld, the least well-known and the most mysterious in his own generation of artists, Chaim Soutine (1893-1943) was the focus of a major exhibition in Paris for the first time in 33 years, in the Orangerie.

Chaim Soutine arrived in Paris in July 1913 and discovered a world far removed from his native Russia. He was very soon classified as a Jewish immigrant, as a typical artist of the Ecole de Paris, with all the prejudices that that entailed. Frequently regarded as no more than a follower, he was part of the Montparnasse legend thanks to his friendship with Modigliani, to whom he was extremely close.

It was while studying Soutine’s portrait by Modigliani that Marc Restellini decided to put on this exhibition. In that sublime portrait, he discovered that the handsome Italian endowed Soutine,  as discreetly as possible, with a religious symbolism by painting him with his left hand carrying out the Cohen’s benediction, that family of High priests in the Temple of Jerusalem. This deliberately secretive detail revealed an out-of-the common personality that might have escaped everyone but which Modigliani nonetheless wanted to immortalize, as though to confer a  mystical dimension on Soutine.

His exceptional personality led him to develop an artform that was misunderstood for a long while, marginalized, often linked to the notion of a difficult, unhealthy artist, on whom all the clichés of the ambient anti-Semitism were heaped, and which turned him into an outcast from his very first arrival in Paris. Like Modigliani, he had a most unusual career, wrapped in legends; a doomed artist, he died without having ever been fully appreciated in his lifetime. Even nowadays the only image left of Soutine is that of a Jewish immigrant bowed under the weight of all the taboos of an overly restrictive religion and whose physical appearance lent itself to every kind of antiSemitic cliché.

It was high time that a Parisian institution put an end to all these outdated notions and paid a deserved homage to this artist whom it is essential to rediscover.

This exhibition will show a brilliant artist, an inquisitor of souls and minds, through approximately 80 paintings, most of which are totally re-discovered works, exhibited for the very first time. Many canvases were restored for this occasion. The ensemble comes from the most important private collections as well as from international museums: French, Japanese, Swiss and American.

Through his use of portraiture, Soutine examined the personalities of his chosen sitters. He showed up their quintessential characteristics, and drew out of each of them what no other artist had perceived. He was quite rightly described as an Expressionist, and was the only one to have represented that movement in France, whereas it was the very basis of all the developing movements, be it in Germany and in Austria at the same period. A true visionary, he transcended reality to transform it into an imaginary representation about a century ahead of his time. On the cusp of several movements still in their infancy, he based his art on the most classical and the most illustrious of his fore-runners (Rembrandt, Courbet, Corot, Cézanne….) to become the major precursor of the greatest contemporary artists from Pollock to De Kooning. He was a reference for all of the Cobra movement, as well as for Bacon, whose pictorial powerfulness descends directly from Soutine. 

Today the Pinacothèque de Paris wants to throw a new light on the works by this essential artist from the start of the 20th century, thanks to loans shown for the first and, quite probably, the last time. 

The very well documented catalogue, will provide us with a closer look at all of the essential aspects that make up Soutine’s powerfulness and uniqueness: his links to Judaism, his critical heritage, his triangular relationship with Albert Barnes and Paul Guillaume which led him to fame and fortune, his artistic characteristics, as well as his cultural links with the past and the future, his passion for series like that of Monet, and his powers of anticipation. 

These many features will totally renew the look cast upon Chaim Soutine’s body of work that Jacqueline Munck, Sophie Krebs, Claudine Gramont and Marc Restellini aim to emphasize. 

Overall curator of the exhibition : Marc Restellini

Pinacothèque de Paris - 28, Place de la Madeleine  - 75008 Paris
Web site : www.pinacotheque.com

October 13, 2007

Stefano Urani, Expo Photo Paris


Photo © Stefano Urani

STEFANO URANI, Photographies

Série Densités

Série Imaginaire Zéro

Expo Photo des Rencontres Photographiques du 10e




© Stefano Urani, Photo de la série Densité


Les photos montrent des présences pour indiquer une absence, ce sont des densités qui, au regard, acquièrent la densité de sensations. Stefano Urani commence la photographie, en autodidacte, après une formation musicale. La réflexion sur l’image et sa critique sont au centre de son travail. Le travail densités-ombres a été projeté en juillet 2007 au festival OFF des Rencontres d’Arles. A noter que cette installation part du centre Jean Verdier et s’étend dans les rues du 10e autour des arrêts de bus.


Stefano Urani, Densité
Centre d’animation Jean Verdier
11, rue de Lancry
M° République
Du lundi au vendredi de 9h à 22h,
le samedi de 9h à 12h et de 14h à 18h
Du 16/10 au 30/11


Photo © Stefano Urani 

Stefano Urani

Série Imaginaire Zéro

Photographies réparties dans
tout le 10e arrondissement
à proximité des arrêts de bus


  © Stefano Urani


« "Imaginaire zéro" est une série de photographies installées dans l’espace urbain du 10ème à proximité des arrêts de bus, sur des superficies de passage, anonymes, où se condensent la poussière et l’inattention. Pour proposer à l’observateur, à travers sa volonté de recherche ou bien grâce à une petite découverte inattendue, une réflexion sur l’image » - Stefano Urani

October 10, 2007

Association Afrique In Visu, Expo Photos Paris



Projection de portfolios de photographes africains

Echanges sur le métier de photographe en Afrique

Lors des Rencontres Photographiques du 10e


  Photo © Afrique In Visu


Le local 37 invite l’association Afrique in visu, plateforme d’échanges autour du métier de photographe en Afrique. Des projections présentent l’action, les enjeux d’Afrique in visu et le métier de photographe en Afrique à travers différents portfolio de photographes du Maroc, Congo Brazzaville, Mali, Nigeria… Des soirées permettront de rencontrer les photographes.

Pour plus d’informations, rendez-vous sur www.afriqueinvisu.org


Local 37
37, rue de la Grange aux Belles
75010 Paris
M° Colonel Fabien
Jeudi et vendredi de 17h30 à 21h,
samedi et dimanche de 14h à 20h
Du 16/10 au 28/10

Pino Art Works Exhibition in Dubai at DIFC Gallery

PINO, Afternoon Stroll.
   © PINO, Afternoon Stroll. Courtesy DIFC, Dubai.

Pino, one of the most prominent worldwide artists in contemporary realism, will be exhibiting his work in Dubai in November 2007.  Under the aegis of the Dubai International Financial Centre (DIFC), the exhibition titled ‘PINO’ will be on view in Dubai from 25 – 29 November 2007 at the DIFC Atrium.  

In an effort to elevate Dubai’s significance in the international art domain, DIFC will be hosting this four-day exhibition. DIFC has hosted many art exhibitions in the past and was behind the inaugural Dubai Art formerly known as DIFC Gulf Art Fair that took place early this year. 

His Excellency Dr. Omar bin Sulaiman, Governor of the DIFC, said: “Parallel to our mission of fostering the growth of the global financial services industry the DIFC is supporting the development of an equally rich and vibrant cultural life here in the emirate. Our strategy is quite simply to make Dubai a world-class centre for the arts – and art commerce. Hosting globally recognised artists such as Pino at the DIFC is very much in line with this vision.”

PINO, Time to Remember.
  © PINO, Time to Remember. Courtesy DIFC, Dubai.

Marwan J. Bin Beyat, Director, Art and Culture, DIFC, said: “We are eager to welcome Pino, one of the world’s most acclaimed contemporary artists, to Dubai and the DIFC. By hosting exhibitions of the work of artists from both the Middle East and much further afield, we help build new bridges of understanding and appreciation between East and West. Just as the DIFC serves as a gateway for the global financial services sector, so too does our cultural commitment position Dubai as a new hub for the exhibition and trade of contemporary art from across the world.”
He continued: “By supporting landmark exhibitions of Middle Eastern and international artists and major art fairs here in the emirate, as well as through its own fine art collection, the DIFC is making a significant contribution to the cultural life of the region. We are especially pleased to host this landmark exhibition in support of an extremely worthy cause: The Safe and Sound Breast Cancer Awareness programme.”

PINO, Late Night Reading.
  © PINO, Late Night Reading. Courtesy DIFC, Dubai.

Born in Italy and living in New York, Pino has been painting throughout his life and has amassed international acclaim for his exquisite pieces. After a recent excursion to Egypt, Pino was impressed by the rich Arabian culture and swayed by his encounters with those he met. His brush with the local residents resonated within him and he was inspired to use them as characters for his paintings. Keen on furthering his relationship with the Middle East, Pino is eager to display his works of art in Dubai. 

Pino commented, “I have met with many people who have worked in as well as visited Dubai and they have all urged me to display my work in this wonderful city. I’ve also heard how the government is working to impart a greater emphasis to art and I believe that Dubai, with the efforts of the government, will soon attain a valuable status as a regional art and cultural hub.” 

Some of Pino’s subjects are primarily women and he is renowned for portraying the essence of their beauty and mystery and hence this exhibition has been linked to the Safe and Sound campaign for breast cancer diagnosis.  For this exhibition in Dubai, Pino will be painting 20 originals specifically for the event and ten percent of all his sales will be donated to The Safe and Sound Breast Cancer Awareness programme supported by Burjuman. In its 10th year, the campaign is the largest, most comprehensive awareness initiative in the entire region.
Pino further added, “I’m moreover keen to work on an exhibition that will help benefit the community and contribute to society by raising awareness of this deadly disease.”
PINO will run from 25 – 29 November 2007 at the DIFC Atrium. 29 November 2007 is reserved for women only.

October 5, 2007

The Development of Photo-Reportage - Exhibition in Paris

Photography Exhibition > Paris


The Development of Photo-Reportage

Musée d'Orsay, Paris

16 October 2007 - 6 January 2008


The word  ‘reporter’, which refers to a journalist investigating a subject, entered the French language at the beginning of the 19th Century, when the press was in full expansion. Photo-reportage in the proper sense developed in the 20th Century with the improvement of cameras and the boom of illustrated magazines. It was not until the turn of the last century that simultaneous printing of photography and text, through the use of a screen was made possible and finally applicable on an industrial scale.

This type of investigation, which the big newspapers put “reporters” in charge of, existed, to tell the truth, since the invention of photographs on paper, at the beginning of the 1840s but they were forced to remain relatively exclusive.

The theme of the exhibition, put together from the collections of the Musée d’Orsay, is social reportage and its beginning. It aims to show how, throughout the 19th Century, photographers viewed  the silent  majority of the society, made up of factory workers, small artisans, peasants, the poor, and those without ranking or even the populations barely touched by western civilisation.

It was after the events of 1848 that the “common people” gained access to historical dignity, to borrow  the expression of  Robert L. Herbert, and became one of the favourite themes of philosophers, writers and painters, before being that of the reformers. Photographers naturally followed suit.

The chosen prints were made at  very different   times and  in very different  conditions.  They demonstrate the artists’ exercises, such as the series on the fishermen of New Haven taken in 1843 by Hill and Adamson, or even the photographs that  Napoleon III commissioned to commemorate the creation of a Hospice for the workers injured on building sites and  to document the Rhône floods, as well as genuine social studies, such as the photo-reportage on the Jewish communities in Poland, produced in 1919 on request by a charitable organisation. All of these scenes however share the task of confirming the arrival of these new heroes, just as surely as the work of  Daumier, Courbet, Millet and  Doré. Firstly, they merited their existence as representatives of a class, then, at the beginning of the 20th Century, helped by development of social conscience and improvement of techniques, as separate individuals.

Curators: Françoise Heilbrun, head Curator at the Musée d'Orsay,
Assisted by Saskia Ooms and Laura Braemer

Publications:  La photographie au musée d'Orsay : vers   le  reportage  (1843-1933)  [Photography at the Musée d’Orsay: the development of photo-reportage], by Françoise Heilbrun, 96 pages, 62 illustrations four-colour prints, available in French, English and Italian, co publishing 5 Continents/musée d'Orsay, EUR 12


The Development of Photo-Reportage
16 October 2007 - 6 January 2008

Musée d'Orsay
Photographic gallery
Level 0, rue de Lille side

October 1, 2007

Marie Babey, Expo Photo Paris


Photographie © Marie Babey

MARIE BABEY, Photographies

Canal Saint-Martin

Expo Photo des Rencontres Photographiques du 10e





  © Marie Babey


Depuis 1990, Marie Babey a choisi de s'immerger, par le biais de reportages au long cours, dans des communautés humaines fermées, qui forment leurs " tribus ". Ses reportages sur le porte-avions Foch, les Marins, les Commandos marine et les Pompiers de Paris ont fait l'objet de livres photographiques.

Egalement au service de l'humanitaire, elle a réalisé l'ouvrage " Un cœur pour la vie ", avec le Professeur Francine Leca, qui opère les enfants cardiaques des pays défavorisés.

Son dernier livre, " Canal Saint-Martin ", est sorti en mai 2007 aux Editions Creaphis.


Galerie Végétale
29, rue des Vinaigriers - 75010 Paris
M° Jacques Bonsergent / Gare de l'Est
Du mardi au dimanche de 10h à 19h
Du 16/10 au 18/11