Today, nobody is quite sure of the exact direction the industry is taking. We can however be sure of one thing – the digital world is increasing at a nearly insurmountable rate. In this Creative Collision video, you will see experts discussing their thoughts on this topic, including:
Creative Collision: The Industry's Direction from Agency Access on Vimeo.
Tags: Agency Access, marketing, advertising
WHAT I DO
I have been creating a massive archive of portraits with the tintype process for over 7 years. I use antique brass lenses, wooden view cameras and chemistry I mix according to traditional recipes. Recently, I have begun bringing these images into large-scale installations alongside found antique letters, photographs and textiles, and simulated "heirlooms" that I make using other historic photographic processes including cyanotype and van dyke brown photograms. With these objects I create fictional heirloom collections for fictional families and individuals.
MY CURRENT PROJECT
I construct installations that are "curated" from my growing archive of real and imagined heirlooms, hanging them the same way family photos are displayed on household walls. I have installed several different slices of the collection in university and commercial galleries, but I am now building installations that exceed these previous incarnations in scope and size. I bring objects together from a wide range of places and times, sometimes even my own family, but no real family is represented by the installations. They are potential but imaginary heirloom collections, fragments of other collections that have been forgotten in boxes or abandoned to thrift stores. When combined with my own work, each of these objects is put into a new context, a new history, even as the individual object still evokes the unique past it has been separated from.
The project draws attention to the rootless nature of contemporary identities. We all assemble and create our identities from fragments of the past. Some of us carefully reconstruct genealogies and can name the individuals in family photographs back multiple generations, while others see only strangers in old albums and shoeboxes. Some of us choose one ancestor or one ethnic affiliation to identify with over another, while others of us find new, future lines of identity in the images we collect of our children. Through the images we hold on to, we all seek to forge identities, to assimilate into traditions and put our lives into historical contexts.
When looking at my installations, viewers might wonder: Are these people related? What stories bring these objects and faces together? Why have these particular objects been framed and not others? What stories, known only to the collector who left them behind, would be communicated by these objects if we just had enough information? These objects are both mysterious and familiar, just as are, paradoxically, images of our own ancestors. I am very interested in the fictional quality of identity-formation. Specifically, I am interested in examining the role that photography has played since its invention in shaping our sense of identity and belonging.
Tags: Keliy Anderson-Staley, kiskstarter, tin type, cyano type
HENRI CARTIER-BRESSON - Decisive Moment, The from bt465 on Vimeo.
Tags: Henri Cartier-Bresson
Session One - 11 AM Eastern Time (10 AM Central, 9 AM Mountain, 8 AM Pacific) Learn More and Register Here
Session Two - 1 PM Eastern Time (12 PM Central, 11 AM Mountain, 10 AM Pacific) Learn More and Register Here
For more detailed information please click on one of the registration links listed above.
Topics Covered Creating and Using Camera Profiles Custom White Balance with the Passport Once click accurate color edits Matching color response of two or more cameras Matching color response under different lighting conditions Color editing in Adobe® Lightroom® Color editing in Adobe® Photoshop®
Who should watch this webinar? Professional photographers Photographic enthusiasts Anyone passionate about accurate color
Tags: X-Rite, Color checker passport, RAW, DSLR, MacGroup, Sekonic
Tags: Henri Cartier-Bresson, photo
Sigma Corporation’s New, Optically Stabilized 120-300mm F2.8 Now Shipping in US
Fast, fixed aperture telephoto zoom is ideal for sports and wildlife photographers
RONKONKOMA, N.Y., June 1, 2011 – Sigma Corporation of America, a leading researcher, developer, manufacturer and service provider of some of the world’s most impressive lines of lenses,cameras and Flashes,has announced that its updated 120-300mm F2.8 EX DG OS APO HSM is now available for purchase in the U.S. for the MSRP of $4,700.
The upgraded version of the Sigma 120-300mm F2.8 EX DG OS APO HSM will replace its predecessor as the essential Sigma lens for sports and wildlife photographers. The fast, fixed-aperture telephoto zoom will now feature some of the company’s new “F” Low Dispersion (FLD) glass elements and a splash-proof design which protects from “water spattering” as buttons and connections benefit from O-ring sealing connections to prevent dust and water getting inside the camera body. It also boasts Sigma’s proprietary Optical Stabilizer (OS) system, which will enable handheld photography and the use of shutter speeds approximately four stops slower than would otherwise be possible.
"This lens is a must-have for sports and wildlife photographers," said Mark Amir-Hamzeh, president of Sigma Corporation of America. "Think of this as a prime 300mm F2.8 in terms of its ultra-high resolution, with the added bonus of it being an F2.8 constant-aperture zoom lens that allows the photographer to recompose the scene anywhere from 120mm to 300mm without having to change their capture position. There's really no other lens like it."
The versatile lens is designed for use with full frame digital SLR cameras but may also be used with smaller APS-C size sensors with a corresponding effective increase in focal length to approximately 180-450mm with most cameras. The Hyper Sonic Motor (HSM) ensures quiet and high speed auto focus, while allowing full-time manual focus override. The maximum aperture remains constant at F2.8 throughout the entire zoom range. The addition of the optional Sigma 1.4x APO teleconverter effectively makes this lens a 168mm to 420mm F4.0 lens. Adding the Sigma 2x APO teleconverter makes this lens a 240-600mm F5.6 lens (full autofocus operation is possible using the Sigma 120-300mm F2.8 EX DG OS APO HSM and either the 1.4x APO or the 2x APO teleconverter in Sigma, Canon and Nikon mounts).
One SLD and two FLD glass elements, which are comparable in optical performance to fluorite glass, provide maximum correction of chromatic aberrations. The super multi-layer coating reduces flare and ghosting, and the lens design incorporates an inner focusing and inner zooming system to ensure sharp images throughout the entire zoom range. Improved optical performance provides excellent correction of sagittal coma flare and ensures ultra-high resolution, comparable to a fixed focal length lens.
To locate an authorized Sigma dealer near you, visit http://www.sigmaphoto.com/where-to-buy-sigma. To use Sigma’s new Lens Finder Tool to find the best glass to suit your needs, visit http://www.sigmaphoto.com/sigma-lens-finder.
Tags: Sigma, Lens, DSLR, Canon, Nikon
we are excited to inform you about the opening of the POLAROID [IM]POSSIBLE exhibition on June 17 at Westlicht. Museum of Photography in Vienna. A SUMMER FULL OF ANALOG PASSION
POLAROID [IM]POSSIBLE from June 17 – August 21 WestLicht The exhibition POLAROID [IM]POSSIBLE opens on June 16 in Westlicht. Museum of Photography and is a pure celebration of the past, present and future of analog instant photography.
An inspiring, never before seen profile of the Polaroid Collection
The exhibition shows a representative profile of the recently saved, legendary, European part of the Polaroid Collection, featuring works by photographers such as Ansel Adams, Helmut Newton, Mary Ellen Mark or Andy Warhol. The eye catcher are large format Polaroids (20x24 inch) taken with a special custom made camera. Conceptual art such as collages, opulent arrangements and trendy staging reflect the zeitgeist of the 70s and 80s. Next to the big names, there are also many works of outstanding photographers unknown on the art market until now.
New and exciting Impossible Instant Artworks Beyond, the exhibition is complemented with fresh photographs taken on new Impossible film by artists such as Nobuyoshi Araki or Stefanie Schneider. The unique Impossible film materials, invented and produced at the former Polaroid factory in Enschede (NL), push analog instant photography beyond all traditional limits and offer a new, broad range of possibilities, characteristics and results, appreciated by international photographers. A selection of those contemporary, analog instant photography cooperations will be presented at the exhibition. The specific authenticity and unique magic of instant art communicate a broad range of important genres and innovative processes. In the exhibition, they are presented alongside the various camera and film types. A companion book „From Polaroid to Impossible / Masterpieces of Instant Photography – The Westlicht Collection“ is published by Hatje Cantz. (German-English, 192 pages, contains ca.200 colorful plates, hardcover with book jacket, € 39,80).
POLAROID [IM]POSSIBLE The WestLicht CollectionJune 17 - August 21, 2011 Tue, Wed, Fri: 2 - 7 pm Thu: 2 - 9 pm Sat, Sun, Hol: 11 am - 7 pm Closed on Mondays WestLicht. Museum of Photography Westbahnstraße 40 1070 Vienna Austria +43 (0)1 522 66 36 www.westlicht.com IMPOSSIBLE POP UP SHOP The most analog store of all times June 17 - August 21, 2011 Tue, Wed, Fri: 2 - 7.30 pm Thu: 2 - 9 pm Sat: 11 am - 6 pm Closed on Sundays and Mondays Impossible Pop Up Shop Westbahnstraße 43 1070 Vienna Austria +43 1 522 32 13 www.the-impossible-project.com
Tags: Impossible project, Polaroid, Instant film, Fuji, FC100c
Solms, Germany (June 1, 2011) – Leica Camera AG is pleased to announce a Leica S2 color profile for ICC-based workflow software. Users wishing to benefit from the new offering can now download the software from the Leica website and take advantage of new, improved features.
The Leica S2 raw data format complies with the specifications in the ADOBE DNG 126.96.36.199 standard (June 2009,) enabling DNG-compatible raw data converters to be used for processing Leica S2 DNGs. As a result, products such as Capture One 6 from Phase One can be utilized.
Further improving the color characteristics of the Leica S2 data, an ICC color profile specifically developed for the Leica S2 is now also available.
While Adobe Lightroom and Adobe Camera Raw do not support this profile, a special “Adobe Standard” Leica S2 DNG color profile is integrated into the software and used automatically.
For registered S customers, the color profile and installation instructions are available for download in the owners’ area: https://owners.leica-camera.com/index.php/de/login
Tags: Leica, S2, DNG, Adobe, Capture One Pro
Tags: Jacques Henri Lartigue, photo, photographer
Tags: Helmut Newton, photo, photographer
Any photographer who says he’s not a voyeur is either stupid or a liar. - Helmut Newton
"The Camera does not lie, Post Production and Publishers do". - James-ism 09/06/2013
Nothing ever comes to one, that is worth having, except as a result of hard work. - Booker T. Washington
"Papa, ... Music is your love, but Photography is your Religion." - Joya D. Hall-Sullivan | Age 10
"All photographs are accurate. None of them is the truth." - Richard Avedon - 1984
"I have not failed. I've just found 10,000 ways that won't work." - Thomas Alva Edison
"Any photographer who says he’s not a voyeur is either stupid or a liar." - Helmut Newton
"You don’t have to sort of enhance reality. There is nothing stranger than truth." - Annie Leibovitz
"When you find yourself beginning to feel a bond between yourself and the people you photograph, when you laugh and cry with their laughter and tears, you will know you are on the right track." - Weegee
" The camera is much more than a recording apparatus. It is a medium via which messages reach us from another world." - Orson Welles
"Some people's photography is an art. Not mine. Art is a dirty word in photography. All this fine art crap is killing it already." - Helmut Newton
"Our virtues and our failings are inseparable, like force and matter. When they separate, man is no more. " - Nikola Tesla
"I think all art is about control - the encounter between control and the uncontrollable." - Richard Avedon
"The first 10 000 shots are the worst." - Helmut Newton
“If I have any ‘message’ worth giving to a beginner it is that there are no short cuts in photography.” – Edward Weston
"Men often become what they believe themselves to be. If I believe I cannot do something, it makes me incapable of doing it. But when I believe I can, then I acquire the ability to do it even if I didn't have it in the beginning." - Mahatma Gandhi
"Ultimately success or failure in photographing people depends on the photographer's ability to understand his fellow man." - Edward Weston
"If you want reality take the bus." - David LaChapelle
"You don't take a photograph, you make it." - Ansel Adams
"When I have sex with someone I forget who I am. For a minute I even forget I’m human. It’s the same thing when I’m behind a camera. I forget I exist." - Robert Mapplethorpe
" Great photography is always on the edge of failure." - Garry Winogrand
"I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal." - Horst P. Horst
"Be yourself. I much prefer seeing something, even it is clumsy, that doesn't look like somebody else's work." - William Klein
"Avedon claims to have been the best photographer in the '60s - bullshit - Bob Richardson was - despite or because of being insane and strung out on drugs, I managed to do photographs that are considered iconic - being known as the 'photographer's photographer' means I lead and they follow - I'm broke and they are rich." - Bob Richardson
"If you're absent during my struggle, don't expect to be present during my success" - Will Smith
"Either take the lead or follow behind, just stay the fuck out of my way." - James Sullivan