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Валерий Лобко [ 02 янв, 08 12:40 ]

Traditional Photographic Specialties for Fine Art Photographers http://www.fineartphotosupply.com/ http://www.fineartphotosupply.com/productspage3.htm Reminiscent of the old Defender Vari-Lour paper, Perfecta possesses a "liquid silver" shimmer that is not seen in other papers. This product is expensive for us to carry - because of the quality control involved; the consistency from batch to batch. Still we've priced it below Elegance. http://www.fineartphotosupply.com/Perfecta%20paper.htm И т.д.

Алексей И. [ 02 янв, 08 12:46 ]

ArtWorks 4x5 Camera $1,522.00 Потрясающе! :) Спасибо за линк! Мечта... http://www.fineartphotosupply.com/workscamera.htm

Катерина [ 02 янв, 08 14:15 ]

Удивилась, когда увидела, что бочки переехали в данную ветку, хотя наверное так и должно быть. Понимаю ветка преообразовалась обзор аналоговой фотографии, направления и развитие.?

Валерий Лобко [ 02 янв, 08 14:34 ]

Попадаются все время ссылки, которые сюда идут более органично. Кроме того, есть какой-то шарм в сочетании вещей приземленных (практических) и примеров работ заметных авторов в классических техниках. Вот, кстати говоря, еще одна регулярная статья: PLATINUM PRINTS What is the platinum print, and why does it look that way? (The following article was published in the inaugural volume of 21st: The Journal of Contemporary Photography, October 1998) When we go beyond the eye, to the hand By John Stevenson The only art born in the 20th century, the only art bred from science: photography is the ultimate commodity. Modern cameras are idiot-proof; anyone can create a photograph, and machines will reproduce them without end. Four billion images are printed every day on Kodak papers alone–with permanence far less than one lifetime. And now silver printing papers and films are extincting one by one, displaced by digital commercial technology. In fact, any more: what is a photograph? Is it the $15,000 Ansel Adams "Moonrise, Hernandez" print framed on your wall, or the "Moonrise" on your computer screen? Well, what if you discovered that Bill Gates recently acquired the copyrights to that image? Nevertheless it seems that photography has managed both to open and close this century with high spots of acclaim. We have the April 1998 New York Times headline announcing the auction news that "Sales Set Records at Four Houses." These events are very pleasing, and a vindication for those who make fine photographs and collect them and transact them and explain them. The last great peak of public excitement (though it was more aesthetic than mercantile) occurred circa 1903-1916. In between there was a period…almost two lifetimes long…in which the most expensive photographs sold for $100 and the rest of them were free. Today, many photographs are not free. Mainstream prices are in the thousands of dollars, the more choice images are at the tens of thousands. The icons are a quarter of a million or more. For ordinary people, the acquisition of a fine photograph is not a trivial decision. The field is formidable and complex. Among the arts, photography is in a state of confusion. There is no clear aesthetic. No single source of wisdom and imprimatur. No place to learn. Yet we are faced with thousands and thousands of images to choose among, and more are on the way. The choices are chaotic and overwhelming. And the perceptions of "intrinsic value" for most photographs are very uncertain and unclear. Today, and from now on: where does one turn? … Why They Look So Beautiful http://www.johnstevenson-gallery.com/how.html How They Are Made http://www.johnstevenson-gallery.com/how_made.html * Natasha--image size 23"x19", platinum-palladium print with watercolor. Edition of 20 with 3 artist's proofs. Joan Myers None of my friends would pose for me. That was my first lesson. "My body is not beautiful," said one. Another delayed a shooting session repeatedly until she "got in shape." Where are the images of older women? Who defines what is beautiful? Is "beautiful" part of the definition of who a woman is? We all age daily. The body but records the passing of time. What does aging have to do with being a woman? -- Joan Myers Back and Hair--image size 23"x19", platinum-palladium print with watercolor. Edition of 20 with 3 artist's proofs. Prints from "Women of a Certain Age" were shot with a medium format camera. The negatives were then enlarged and contact printed in the platinum-palladium process. Myers mixes up her platinum-palladium emulsion, brushes it on drawing paper, dries it, exposes it and then develops. When the print is dry she adds a light watercolor wash. The tactile feel of the drawing paper and the brownish-black of the image suit the warm sensuality of the images. http://www.joanmyers.com/Wom5.htm

Валерий Лобко [ 02 янв, 08 22:57 ]

Такая вот техника еще, Mordançage: Elizabeth Opalenick, Changer la Femme #3, 1999 Mordançage (Silver emulsion lift), 9 x 6 inches Elizabeth Opalenick http://www.johnstevenson-gallery.com/opalenick.html

Валерий Лобко [ 04 янв, 08 22:47 ]

Hackel Bury Fine Art — Allan Jenkin Mona portrait, 2003 Shona's breast, 2001 Valeria S, 2003 Marga eyelashes, 2003 Hand-coated cyanotype, from an edition of 18, 8"x10" Price ranges £400-£800 depending on the edition number. http://www.hackelbury.co.uk/artists/jen ... ns_sm.html Spoons, 1995 Garlic, 2005 Three Avocados, 2004 Carrots, 2001 http://www.hackelbury.co.uk/artists/jen ... s3_sm.html Allan Jenkins is a purist and traditionalist, working only with natural light and using old-fashioned alternative non-silver processes. These methods were first practised in the 1890’s combining ferric salts and carefully exposed UV light, that cooks the images slowly into the fibres of the paper through the density of the negative. The work is dark and mysterious, every print a curious mixture of new and old. Jenkins aims to “capture the pure essence of beauty with an overtone of simplicity yet great attention to intricate and subtle details. Still life inspires me because the natural elements can be captured in great depth and the subtle shapes and forms can be enhanced by the combination of gentle daylight and darkness. I achieve this by adopting the ‘chiaroscuro’ effect, that has been practised by painters for centuries” “In my figurative work, I do not look for the so-called ‘perfection’ that is usually represented in society today. I strive to capture the unique and natural depth of beauty that exists in all people.” http://www.hackelbury.co.uk/artists/jen ... nkins.html

Валерий Лобко [ 05 янв, 08 11:18 ]

The past is the new future Afterimage, May-June, 2006 by Marnin Young THE IMAGE WROUGHT: HISTORICAL PHOTOGRAPHIC APPROACHES IN THE DIGITAL AGE RANSOM CENTER GALLERIES, UNIVERSITY OF TEXAS AT AUSTIN AUSTIN, TEXAS JANUARY 31-AUGUST 6, 2006 A beautiful and thought-provoking exhibition on historical photographic processes and their use by a growing contingent of contemporary photographers, "The Image Wrought: Historical Photographic Approaches in the Digital Age" appears at a watershed moment in the history of photography. …In the wake of this sea change comes a pressing question: what is the fate of chemical photography? "The Image Wrought" offers one possible answer: the future of photography lies in its own past. Among other things, the exhibition provides an informative historical overview of nineteenth -and twentiethcentury photographic processes but also showcases contemporary chemical photography work in those media. By juxtaposing the historical with the contemporary, the show demonstrates the artistic possibilities that arise from the refusal of "technological Darwinism." As the subtitle suggests, the exhibit displays a profound consciousness of our historical moment. Indeed, the curator of the show, Linda Briscoe Myers, clearly sees it as a rejoinder to the "bloodless" quality of much digital photography. "It is vital to realize the aesthetic advantages of preserving the past," she states in a press release. "The exhibition demonstrates that there is an inherent beauty to these handcrafted images that differ from those produced through digital technology." Далее (плюс две страницы): http://findarticles.com/p/articles/mi_m ... _n16701832

Валерий Лобко [ 06 янв, 08 19:40 ]

Robert Mann Gallery — Michael Kenna New York / New York 39 работ, пролистывать. Там же — другие города, Франция, Япония (Hokkaido, 2007). Brooklyn Bridge, Study 1, New York, 2006 7.75 x 7.75 inches, edition of 45, toned silver print Chrysler Building, New York, 2000 8 x 7.5 inches, edition of 45, toned silver print Preview http://www.robertmann.com/exhibitions/2 ... ls_01.html Robert Mann Gallery is pleased to announce an exhibition of new photographs of New York City by Michael Kenna. New York / New Work will be on view from November 29, 2007 through January 26, 2008. An opening reception for the artist will be held on Thursday, November 29 from 6-8pm. Never afraid to confront iconic subject matter, with this new body of work Michael Kenna turns his lens on New York City. Infinitely rendered by masters and tourists alike, the city is transformed through Kenna's eyes. Recalling Kertész perched on his window over Washington Square Park, or Stieglitz peering up at those shiny new skyscrapers, Kenna romanticizes even the most frenetic landscape by seeking out those quiet moments at dusk and dawn. With exquisite toned silver prints, he imposes order and tranquility on the otherwise chaotic city streets. Engaging the strong, modernist lines of the urban grid, Kenna's formal precision is more clarified than ever. The exhibition also coincides with the publication of Michael Kenna's newest monograph, Mont St. Michel (Nazraeli, 2007). Photographs from the book will be featured in the exhibition. Whether capturing a misty French castle or the elongated span of the Brooklyn Bridge, Kenna's photographs "are beautiful and achingly solitary." (ARTnews, Hilarie M. Sheets) Michael Kenna was born in Widnes, England in 1953 and graduated from The London College of Printing in 1976. His work is part of such public collections as The National Gallery, Washington, D.C.; the San Francisco Museum of Modern Art; the Bibliothèque Nationale de Paris; The Museum of Decorative Arts, Prague; and The Victoria and Albert Museum, London. His recent publications include Hokkaido (Nazraeli, 2006), Retrospective Two (Nazraeli, 2004), Ratcliffe Power Station (Nazraeli, 2004), and Japan (Nazraeli, 2003). He lives and works in Seattle, Washington. Там же большой материал: Michael Kenna takes beautiful photographs; this is not meant pejoratively. When Adam Kirsch reviewed the book "On Ugliness," edited by Umberto Eco, in last Wednesday's New York Sun, he concluded that "The frightening thing about modernity … is the way it makes … ugliness … no longer beauty's necessary negative, but the only true mirror of our age." Mr. Kenna's work as a landscape photographer over the last three decades has sought to reintroduce beauty as an acceptable aesthetic criterion. A selection of 39 of his black-and-white pictures is on exhibition at the Robert Mann Gallery in "New York/New Work." Mr. Kenna is hugely popular. The list of his honors, exhibitions, and books, etc., fills more than 13 pages, and the list of Public Collections alone runs onto two single-spaced pages… http://www.robertmann.com/exhibitions/current.html

Валерий Лобко [ 08 янв, 08 22:47 ]

Вот такая ссылочка с D'Log'а давняя: Tom Baril A graduate of New York's School of Visual Arts, Tom Baril spent over fifteen years as Robert Mapplethorpe's master printer. His studies include urban architecture, seascapes and meticulously detailed botanical and nature photographs. Baril has enjoyed numerous solo exhibitions world-wide, and his work is in collections from the Los Angeles County Museum of Art to Amsterdam's Stedelijk Museum. Two monographs have been published on his work, Botanica (Arena Editions, 1999); and the highly acclaimed 1997 self-titled monograph published by 4AD. http://www.kochgallery.com/artists/cont ... index.html

Валерий Лобко [ 08 янв, 08 22:49 ]

И еще: Another gem from the Internet Archive — a complete scanned PDF version of Woodbury’s Photographic Amusements (1905 edition). Woodbury’s DIY manual for trick photography — still packed with useful ideas — first appeared in 1896, and was so popular it went through 11 editions before 1937. Версии файла для загрузки: http://www.archive.org/details/photogra ... 00woodiala

Валерий Лобко [ 09 янв, 08 21:39 ]

Former National Library, in San Agustin ex-convent, corner of Isabel la Catolica Street and Uruguay Street. PANORAMAS OF THE 21st CENTURY TAKEN WITH A CAMERA OF THE 19th CENTURY Eric Jervaise http://zonezero.com/exposiciones/fotogr ... set00.html

Алексей И. [ 09 янв, 08 22:56 ]

Какая штука-то изумительная! Спасибо за ссылку, на сайте автора панорамы просто фантастические. Самое странное, что сделать такую камеру не составляет особого труда, почти что на коленке... Это идея, между прочим. Снимал когда-то камерой ФТ-2, с тех пор ностальгия по этому волшебству

SergL [ 10 янв, 08 0:16 ]

а печатать? там же 6*6=36см примерно, даже отсканировать в Минске наверное невозможно.... хотя и как контакт не плохо смотрится...

Валерий Лобко [ 10 янв, 08 22:50 ]

Под руками тут не попались снимки из нью-йоркской серии, так я более раннюю линкую: Bruno Moyen Place Saint-André, face sud. 1999. Sténopé sur film grand format Polaroid 55. © Bruno Moyen. Né en 1958 à Grenoble, Bruno Moyen est photographe publicitaire depuis 1980. Fondateur du studio « Lucy in the sky » en 1992, il s’installe à New York de 2000 à 2001 et travaille aujourd’hui pour des magazines ainsi qu’à l’élaboration de la banque d’images internationale de Hewlett Packard. Il développe également plusieurs projets personnels : série sur la ville en traitement croisé et photos de voyage avec un assistant personnel Palm. Deux ouvrages de librairie sont par ailleurs en cours de préparation. http://www.maisondelaphoto.info/pages/p ... moyen.html Bruno Moyen New York Obscura The First Serie with my Pinhole Camera Bruno Moyen is a French advertising photographer. After spending years running a studio and shooting for big companies and corporations in France, he has decided to settle down in New York. He has been taking pinhole pictures for three years with his camera obscura in various locations but mainly in New York City. He has found in this medium the best tool for what he considers the art of photography: a process that should reveal a different point of view whatever the subject is, and what is always considered the artist's "self-portrait". The pinhole camera " camera obscura " is a camera with neither lens nor viewfinder. It's a box holding a film plate, and pierced with a tiny hole on the opposite side of the film. A lens isn't needed to take a picture: the rays of light merely have to be focused on one point and a very tiny hole is sufficient. The process is well known since the ancient Greeks and even Leonardo da Vinci built several, some huge. He was able this way to reproduce precisely, in drawing, the external reality. Compare viewing an eclipse using a cardboard box with a pinhole. Photography consists of fixing the latent image on film. Of course, as the hole is very tiny, very little light comes through it and the exposures are several minutes long. The result of these long exposures is that only objects that don't move during this time are impressed on the film so the scenes are virtually devoid of live subjects. The other unusual features of this medium are the very wide angle (without any optical alteration, of course); the diffraction of the front light; the vignetage (the center of the image is lighter than the borders); and the extreme depth of field (from few millimeters to infinity). All these images are shot on 4 X 5 black and white Polaroid film with reusable negative. The print is thrown away, the negative is scanned, then levels are adjusted by computer and then prints are made on archival paper with special ink. These photographs tend to evoke the perspective of a child discovering a place: eyes up and still. There is a very "soft" feel to them, and they look somewhat like very early photographs. It has a lot to do with a time paradox: there's quite a long time in these pictures and yet they seem timeless… http://www.brunomoyen.com/New_York_Obscura.html

Валерий Лобко [ 12 янв, 08 20:45 ]

NEW: Blood Migration poems and photographic prints by John Metoyer John Metoyer’s Blood Migration brings together the photographs and poetry of one of America’s most gifted contemporary artists. His strange, deeply moving, often terrifying yet beautiful photographs come from a unique, magically real world of his own making, a world that can both comfort and disturb. His poetry has a similar universality about it, and ranges from poems on the African-American experience to what he ironically calls “love’s post mortem changes.” Blood Migration, illustrated with 19 original images, presents a wide range of classic photographic processes including hand-coated cyanotypes, kallitypes, platinum and palladium prints. Blood Migration is the thirtieth book published by 21ST Editions. Its publication also coincides with the ten year anniversary of the founding of the press in 1998. We at 21ST Editions have chosen Blood Migration as our celebratory title to mark these two milestones. 18 bound, plus 1 fully signed and free-standing, platinum print * PLANOGRAPH The hand-printed waterless planograph is to color printing what the hand-pulled photogravure is to black and white. In traditional lithography water is used to resist the ink on the non-printing areas of the image. The common rule follows that the less water usthe richer the image becomes. Waterless planography depends on a silicon-based chemistry, not water, to resist ink. This process allows for the production of translucent, shimmering color images with denser, richer blacks than in any other mechanical means of color reproduction. The fragile and rare Chinese tissue used in this process is hand-made according to traditions that date back to 600 A.D. Тут — платина и фотогравюра: http://www.21stphotography.com/process.htm

Валерий Лобко [ 13 янв, 08 13:21 ]

Вот оно как раньше, по хорошему-то. И натура подходящая всегда находипась… Aaron Siskind photographing at old Yuma jail., 1947. Gelatin silver print, made ca. 1947. Mounted. Signed in pencil on mount. Image measures 9 x 13 3/8 inches. Inventory #C0379. Это — из собрания Richard Moore Photographs, одного из участников марафона l.a. http://www.richardmoorephoto.com/photopages/Yavno.html Wanda Sylvano, ca. 1910. Vintage platinum print with watercolor applications. Tipped to paper mount. Image measures 4 3/4 x 6 5/8 inches. Sylvano was a French actress at Theatre Sarah Bernhardt. Inventory #C0430. http://www.richardmoorephoto.com/artists.html

Валерий Лобко [ 18 янв, 08 14:32 ]

Peggy Washburn Awakening of Ophelia ll 2003 — 19x19" silver gelatin Lithe print, edition of 15 Раздел Fine Art, Stories, лит-печать: http://www.peggywashburn.com/newpages05 ... meset.html Раздел Fine Art, Ghosts, бром-серебро: Metamorphosis, 1999 — 19x19" silver gelatin print, edition of 15

Валерий Лобко [ 20 янв, 08 13:12 ]

Gerald Peters Gallery \| Photography Дивные работы в фотографическом отделе галерее. Взял на заметку нескольких авторов. Robert Buelteman : http://www.gpgallery.com/works/search/40 Имеется странная запись: Silver-selenide gelatin prints, см. Deadman Creek и первую работу на второй странице. Основной набор — дивные подсвеченные и подцвеченные цветы. Наугад: Robert Buelteman, Golden Columbine, 23/25, Chromogenic Print 50 x 40 in Rene Alexander Cabral Palladium prints: http://www.gpgallery.com/works/search/45 Две страницы. Ken Rosenthal Ken Rosenthal, Seen and Not Seen #483-3, 18/25, 2001 Split-toned silver gelatin print, 16 x 20 in Имеются еще круговые панорамы (Gus Foster), John Coffer. У последнего — ферротипы: John Coffer, Blacksmith Tools and Forge, 2002, Tintype, 11 x 13 in John Coffer, Cow Corral, 2004, Tintype, 8 x 17 in * The Gerald Peters Gallery, Santa Fe, has a varied selection of vintage photographs by American masters such as Ansel Adams, Morley Baer, Ralston Crawford, and Paul Strand, as well as a contemporary department of nationally recognized photographers focusing upon our American cultural identity and our relationship to the land. http://www.gpgallery.com/genres/view/9

Валерий Лобко [ 21 янв, 08 21:56 ]

Lynn Geesaman Весьма интересны черно-белые работы (и версии): Damme, Belgium (2004) [ #4-04-23-7 Но очень хороши новые цветные. Пишут: Lynn Geesaman quickly gained national recognition for her striking black and white photographs. Void of people, her images reveal the solitude and refinement found in nature. Her pictures vibrate with a glistening light, inviting viewers to meander through the poplars in France, the canals in Belgium and the cypress trees in Italy. These are quiet places where the only disturbance is the occasional rustle of the leaves or the sounds of our own thoughts. Geesaman photographs during daylight hours, when the sun catches the tip of the leaves and the wind barely makes a sound. Her shimmering images continue to invite the viewer into a dream world where the imagination runs free. New to Geesaman's work in her use of brilliant color. Through meticulous darkroom printing, we are confronted with glowing yellow trees, glistening orange foliage and soft green waters that challenge our perception of natures' colors. These are fabricated colors in familiar places -- places Geesaman has shown us before, yet places we long to re-experience. Whether working in color or black and white, Geesaman photographs places of solitude that invite the viewer to walk around, without any distractions or reservations. Вот взятые наугад примеры: Avery Island, Louisiana, (2007) [2-07-20c-5] Damme, Belgium (2004) [ #4-04-50-4 ] Две страницы здесь: http://www.edelmangallery.com/geesaman.htm

Валерий Лобко [ 26 янв, 08 23:34 ]

798 Photo Gallery Alan Ross Photographer Alan Ross Alan Ross is a well-known photographer, master printer and educator. He was Ansel Adams's Photographic Assistant in Carmel from 1974 to 1979, and was integrally involved in Adams' books, teaching in Yosemite, and production of fine prints. He has been exclusive printer of Ansel Adams' Special Edition negatives for twenty- seven years and over the span of that time has made over seventy-thousand prints from Adams's negatives. He operated a commercial photography studio in San Francisco for twelve years with projects ranging from ads and world-wide campaigns for the Bank of America to landscape murals for the National Park Service. He relocated to Santa Fe in 1993 to devote more of his energies to his personal work, teaching, and work for select clients, including Boeing, Nike, IBM, and MCI. Большая подборка работ, крупные иллюстрации: ALAN-08 (Photographer: ALAN ROSS) Size: 11*14inch Media: Gelatin Silver Print/FB paper Edition Print: 100 Edition Print No.: 7/100 Current Price: USD600 http://www.798photogallery.cn/EN/photog ... er_16.html

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