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Валерий Лобко [ 05 июл, 08 16:55 ]

Still alive0 Classic cameras Olympus 35RC Vintage camera : Kodak 35 One of my favorite classic cameras is the Kodak 35 RF, a rangefinder camera from the 1940’s. One reason I like it so much is its unusual appearance and also how it feels when holding it. While usually I prefer my cameras light and simple I just had to make an exception here; although this camera is on the heavy side and offers plenty of settings to fiddle with I guess I find it charming enough to take along with me whenever possible. http://nonphotography.com/blog/wp-conte ... htfilm.jpg http://nonphotography.com/blog/?cat=5 Archive for the ‘Film photography’ http://nonphotography.com/blog/?cat=22

Валерий Лобко [ 05 июл, 08 18:16 ]

... Yousuf Karsh http://karsh.org/ ...

Валерий Лобко [ 05 июл, 08 19:23 ]

Selected contemporary Polaroid art. Affordable editions & exclusive Polaroid originals http://www.polanoir.com/ * http://www.unsaleable.com/ * http://polanoid.net/ * http://www.wolkerstorfer.at/cameras.html

Валерий Лобко [ 06 июл, 08 12:42 ]

Валерий Лобко писал(а): ... Yousuf Karsh http://karsh.org/ ... Вот тут имеются любопытные замечания о технике: …Frank Lloyd Wright's portrait is lit with the "T" or "arrowhead" lighting layout. A strong light is placed to the side and slightly to the rear of the subject and high, and a weaker light beside the camera. A fourth light may be used to lighten the background very slightly (I don't see it used here) and at times a hair light was used. Filters were not used, but Ortho film was often used on men. Gen. Pershing's portrait was lit with the main light on the right side of the picture, with a lesser fill light on the right. A background light of low intensity was used and I believe the background burned in to leave the slight line. An overhead light was directed to the hands and hair. I saw an exhibition of Karsh's portraits a few years ago, and it was magnificent. What was amazing was that his portraits of Krushev, taken in Russia with a Rollieflex, still had the skin tones and sheen on the skin as does the 8x10 shots. I believe these two shots you showed are made with the 8x10 camera and 14" lens. Along with the exhibition was a video tape of Karsh making a portrait, which showed the arrowhead lighting with spot lights. The rest is pure talent… …Most of the studio hot lights were either 500 or 1,000 watts. You can get nearly the same effect with electronic flash without umbrellas. Use a layer of cheese cloth to smooth out the light just a tiny bit. This may sound funny, but it seems hot lights stay on the surface of the skin and give a smoother sheen, whereas electronic flash penetrates the surface of the skin. I am not the first photographer who has noticed this effect. However, electronic flash can be just about as good and it is certainly easier on the subject. You can't seem to get the sparkle on the skin tones with umbrellas or soft boxes, as that is their purpose. They smooth out the skin and eliminate a lot of retouching. To answer your question, the small flash will work for fill or background light… Dave: I'll get this right yet. I was in too big of a hurry and didn't proof my answer as I should have. The arrowhead lighting on Frank Lloyd Wright's portrait uses TWO lights to the side and slightly to the rear, one on each side. Sorry for the errors. Doug. …Just a guess: Looks like Pyro was used, as well as a fair amount of retouching by hand probably with a pencil on the negs. One aspect of Karsh's portrait of note is the emphasis on the lighting the subject's hands separately. He felt that the hands are a very integral part of the subject's character. You can see this in the two pictures you posted. (In Pershing's portrait, there is one light gunning at the hands from behind to the left of the viewer), On the whole, the lighting is fairly hard which is why on negative retouching is required. One book to see is "Karsh : A Sixty-Year Retrospective" he has two others I believe. I have this one. Some of the lighting schemes (not detailed in the book) were really amazing. …I'd like to make a comment on Karsh's image of General Pershing, It looks like to me that he is using a stong, harsh light, some distance from the subject (from the right of the viewer), slightly raised above the subjects eye. There is another light that is coming in at almost 90 degrees to the left of the subject to light his hands, however, it looks like hes used cutters to protect the face. To emphasize the head and shoulders from the background, he has used a very soft background light (probably 3 stops different from every other light in the image (either that, or hes a darkroom genius). Id just like to make a comment about what everyone else has said about the two images, and Karsh's style for that matter. It is very rare for two people to look at an image in the exact same way, when i was at uni, they taught us to accept others opinions, and try to see it from their perspective, as well as your own. For all those who think that Karsh's style is repetitive, and even 'old', his use of theatrical lighting styles is what makes him so popular, and such a legend, he found his niece in the market and has done well from it. …One key element that is missing so far in how Karsh creates such remarkable quality in his images is that he often used toners in the print development process. Selenium toners as well as "homemade" toners that he used can dramatically affect the overall print. Also don't forget that he was usually shooting with an 8X10 view camera which to this day will surpass anything on the market. In the case of photography "bigger is better". An alternative to an 8X10 camera, that I have used many times to replicate the feel of this type of portraite is to use a little known Kodak product called Technical Pan 120. Tech Pan is a difficult film to shoot and to process but the quality of the grain structure and skin tones that it produces are spectacular. Give it a try! …An aspect that has been missed here is the color temperature of the lights. When photographing the human skin, you have a surface rich in the yellow-red spectrum, both orthochromatic and panchromatic black and white films get a slightly higher, (greater) exposure than is presented by the meter. 'Hot' lights, a.k.a. theatrical lights are quartz ampules with tungsten filaments. They burn at 3200 degrees Kelvin and grow warmer (to the 3000 to 2800 degree Kelvin) range. You also have the ability to use barndoors and most importantly, to use a 'leeko light'. This is a varaible-focus spotlight, (Fresnel and double convex condensers). This enables one to acheive the high reflectivity seen on the skin. Bogen monolights have a focusable spot strobe, 'gel-ing' the strobe will give greater effect than filtering the lens, (Roscoe gel). Agfapan processed with Rodinal will give damn-near the quality of tec- pan and is a LOT easier to use. Print on FIBER BASE PAPER, Agfa (or for a colder-tone, Orental Seagull. …In his autobiography (published in the 1960s), Karsh says that he was inspired by the way in which set designers and dramatic directors used light. That observation convinced him that one could achieve great effects through deliberate use of lighting. This is quite evident in his photographs. To me, the magic of Karsh does not reside primarily in lighting or printing (masterful though these are). The true drama emerges from the personalities that he photographed, and his wonderful writing about them. I strongly encourage people to look at his book "Karsh Portfolio," and at his autobiography. …I was sad to see the passing of another great photographer that can never be replaced. I use to work at the camera store where the Karsh Studios did their purchasing and was always attentive to what they used, to make the pictures. I think what ever chemistry (Kodak Portriga, Selectol soft,selenium toner, greeen filters, polarizers) and product they used does not compare with the gentle character which reveals every line of expression from his subjects. I was fortunate to have talked with him in idle jest between floors at the Chateau Laurier and will always remember him as a person able to project some aging personal warmth. …I was privileged to hear Mr Karsh lecture at a professional photographers convention in 1968. During the course of his lectures he fielded many questions from the audience about cameras, lens and all the other technical questions from the floor. He placed almost no emphasis on equipment of any sort, but on proper rapport with the subject. I'm convinced that you gave him a Brownie Hawkeye camera, a roll of film and a decent darkroom, his work would shine through as always. My two idols, Mr. Karsh and Adolph (Papa) Fassbender emphasized one thing, "See Light." They were both experts at seeing how to light a subject. http://www.greenspun.com/bboard/q-and-a ... _id=003kYg

Валерий Лобко [ 06 июл, 08 20:15 ]

Nostalgia And Some Thoughts on Camera Collecting Bill Caulfeild-Browne Craftsman, Bilora Radix, Rolleiflex, Periflex… Periflex: Built by Corfield, it was one of Britain’s answers to the Leica, and it took Leica screw mount lenses. I managed to find one in Germany; for some reason there seem to be more examples of these cameras available there than in their native England. This one was made, I believe, in 1959. It’s very robustly constructed and works beautifully. The Lumax 50mm f1.9 lens focuses to less than two feet and is so deeply recessed you really don’t need a lens shade. The Periflex owes its uniqueness to its focusing system; although it looks like a rangefinder, it actually has a tiny periscope that is lowered into the area behind the lens. You use this to focus and then it swings out of the way to take the shot. …Yashica J5… Collecting from a base of nostalgia doesn’t mean you can only acquire cameras you used to own – you can acquire those you yearned for but couldn’t afford. The ad below comes from the British Journal of Photography Annual 1964. Man, did I lust after that Canon 7! …So, over 40 years later I decided it was time to slake my thirst. These cameras are highly collectable and thus very expensive. An article on the camera in a recent issue of Shutterbug magazine hasn’t helped – prices rose after it was published, to roughly 150% of what the columnist thought you’d have to pay! …The last camera in my collection – for now anyway – is a Canon AE1, which I first acquired in 1976 when it initially went on sale. It was one of the most successful cameras Canon ever launched and it’s easy to find quite presentable specimens on eBay. …The background to this is a lesson in customer service from which many companies might learn. My original AE1 broke down after a few months, so I took it back to Canon Canada to have it fixed under warranty. The technician took a look at the camera while I waited at the service desk. After a few minutes he disappeared, to return a moment later with a brand new, boxed AE1 which he handed to me with an apology for the breakdown. No nonsense, no discussion – just a new camera. …For the moment these seven cameras complete my nostalgia collection. The cameras that succeeded them all have a place in my heart, but most of them are still pretty current and don’t evoke much of a sense of the past. I had a Mamiya 645 – but I’m using its grandchild, the AFD II, today. (What a contrast – going from a glorified box camera with two speeds and two f-stops all the way to an autofocus electronic camera with a 39 megapixel digital back!) I’ve had a Practica, a Canon F1, a brace of Leica R4s, a Hasselblad 2000FC and some Rollei 6008 gear. They were (and are) great tools– but none of them bring a lump to my throat. The only exception might be a Leica M6, which I wish I had kept – it got traded when I went back to medium format for the second time. I think I might have to indulge that growing nostalgia by getting an M8….some day when my wife isn’t watching. (Buying an expensive camera as a tool is easily justified – buying a camera just to have it is a tougher sell. But of course I would use it.) http://www.luminous-landscape.com/essay ... lgia.shtml

Валерий Лобко [ 06 июл, 08 21:40 ]

© Oscar Masats La Nueva Mirada Ramón Masats Kowasa Gallery E. Barcelona, 27 Jun-02 Aug 2008 Ramón Masats Fotografías inéditas 1950-1960 … KOWASA gallery presents the exhibition RAMÓN MASATS "LA NUEVA MIRADA". The show offers a thorough overview of more than 70 B&W vintage prints of Ramón Masats, the majority of which have remained unpublished and little known. The exhibition is accompanied by the catalogue, Ramón Masats. La Nueva Mirada (Photographs 1950-1960), a monographic study published by KOWASA (100 pages, introduction, 71 illustrations) ISBN: 9788488314093 Date of publication: June, 25, 2008 RAMÓN MASATS LA NUEVA MIRADA There were many innovative Spanish photographers in the fifties who aspired to break from the dominating post-war formality and who aimed to bring forward a new photographic discourse related to the movements of the international avant-garde. However, none among them was destined to occupy such an exceptional position as Ramón Masats. Born early and in a casual form, his singular vision ushered in a radical modernity, profoundly marking the course that Spanish photographic art would take, always on the margin of conformities and endogamic ideologies. Kowasa Gallery dedicates an exhibition to Ramón Masats with a catalogue of more than seventy vintage prints, the majority of which are little known and have never before been published. Special emphasis has been placed upon the years 1953-1957, when the young amateur from Terrasa was making his own way through the world of photography in search of a personal language. Our aim is twofold: firstly to underline the uniqueness of Ramón Masats, and on the other hand to stimulate a revisionist reflexion that challenges the existing need to inscribe and to pigeonhole his photographic practice in the international aesthetic movements of the era (the New Subjectivity of Otto Steinert, the documentary vision spread by "The Family of Man" show at the MoMA in 1955, and the different manifestations of the Humanist Realism in France and in Italy). It is clear that since his very first incursions into photography, the practice of Masats disobeys any concrete style. Sober but at the same time ironic, dry and realistic, yet imaginative and sarcastic, his vision is fully personal, impregnated by nature with an extraordinary intuitive instinct for detecting the "humanity of the moment". Like the rest of the photographers of his generation, Masats is conditioned by his time. Весь текст: http://www.photography-now.com/popup_au ... gen=T61605 Галерея > RAMON MASATS F O T O G R A F I A Ramon Masats (Caldes de Montbui, 1931) is one of the finest photographers of his generation. He was initiated into the profession alongside masters of the standing of Xavier Miserachs and Ricard Terré, with whom he exhibited his works for the first time in 1957, and revolutionised the world of photography of his time by distancing himself from the traditional photographic aesthetic and by revealing a surprising creative vigour, an astonishing boldness when it came to breaking formal conventions and a truly breathtaking intuition. His photo-reportages of the 1950s and 60s are a veritable landmark in Spanish photography of the post-war years. Some of his best images are from this period of silence that began to change the face of the country… http://www.bcn.es/virreinaexposicions/a ... indexA.htm Ramón Masats — PhotoGaleria.com http://www.photogaleria.com/autores/ramon_masats/ BLANCA BERLIN GALERIA FOTOGRAFICA Ramón Masats http://www.blancaberlingaleria.com/arti ... tas/14.jpg http://es.wikipedia.org/wiki/Ram%C3%B3n_Masats

Валерий Лобко [ 11 июл, 08 15:10 ]

Laurence Miller Gallery Henri Cartier-Bresson \| Helen Levitt Side by Side For the very first time Henri Cartier-Bresson and Helen Levitt, both internationally recognized twentieth century masters of street photography, will be exhibited side by side. Helen Levitt, at 95 years old, is considered by many the greatest living photographer within the tradition of the street photograph, of which her friend Henri Cartier-Bresson (1908-2004) is perhaps the acknowledged master. Despite his being French and she being a New Yorker, they shared a sensibility rich in the poetic drama of the street and sophisticated in the formal nuances of the frame. Each photographer quickly received significant recognition within only a few years of their first making photographs. Many wonderful juxtapositions of photographs by each will be shown: Cartier-Bresson’s children playing among the ruins in Seville share the energy and formal complexity found in Levitt’s boys playing with branches in a vacant lot in Spanish Harlem. A near perfect pairing juxtaposes Cartier-Bresson’s boy carrying a wine bottle (Rue Mouffetard, Paris, 1954) along side Helen Levitt’s woman holding milk bottles (New York City, c. 1945). It is interesting to note that the Levitt was taken about a decade before the Cartier-Bresson. Less formally connected, but perhaps more emotionally tied, are Cartier-Bresson’s picture of a man jumping over a puddle (Behind the Gare St. Lazare) and Levitt’s child sticking her face out of a baby carriage ( New York City ). Two perfect moments of joy. Though Cartier-Bresson took pictures around the globe while Helen Levitt stayed close to home, it was in Mexico and New York City where their metaphorical paths crossed. This connection is one of the rare times when they both photographed in the same place and the juxtaposition of the images each made shows them at their closest. Галереи: Henri Cartier-Bresson Calle Cuauhtemoctzin, Mexico City 11 x 14" silver print, pr. later Helen Levitt New York, c.1940 14 x 11" silver print, pr. later http://www.laurencemillergallery.com/cu ... bition.htm

Reikjavik [ 11 июл, 08 16:23 ]

Ой какая прекрасная ветка! спасибо!!!

Валерий Лобко [ 16 июл, 08 14:28 ]

Вот вам яблочко за это: Barry Singer Gallery Josef Sudek (Apple) c.1974 Vintage Gelatin Silver Print 2 7/8 x 2 7/8 http://www.singergallery.com/generalInventory.cfm

Валерий Лобко [ 16 июл, 08 14:33 ]

Irene Fay Irene Fay His Shirt—On the Line 1977 Vintage Gelatin Silver Print 11 x 10 Вся галерея: http://www.singergallery.com/gallery.cf ... 82&start=1

Валерий Лобко [ 30 июл, 08 21:50 ]

Недальновидность?.. С точки зрения читателя, журнал "Советское фото", №8, 1987 год Более десяти лет я работал в профессиональной фотографии, выпустил несколько фотоальбомов. Мне хотелось бы поддержать попытки журнала воздействовать на фотопромышленность с целью улучшить качество фотоаппаратуры. В № 11 "СФ" за 1986 год помещено очередное разъяснение заместителя начальника Центральной рекламно-коммерческой организации "Рассвет" тов. Федина о причинах прекращения выпуска среднеформатных фотоаппаратов "Москва" "в связи со снижением спроса", их "моральным устарением", "ростом популярности" узкопленочных фотоаппаратов. Далее сообщено, что "отечественная любительская фотография ориентирована на 35-мм фотопленку". Просто удивительно, как бюрократическое желание все подвести под единый ранжир отражается на развитии фототехники. А если какой-то любитель не хочет "ориентироваться" на 35-мм фотопленку? А таковые есть и всегда будут по мере роста их творческих запросов и мастерства. "Ограниченная" потребность в дешевых, простых среднеформатных и широкоформатных камерах вытекает из объективного развития любительской (а в известной степени и профессиональной) фотографии, а не определяется той или иной "ориентацией", формально принятой в ведомствах. Надо ли фотопромышленности удовлетворять этот спрос? Если думать о всестороннем развитии фототворчества в стране - надо. Кстати о "мировых тенденциях уменьшения формата любительских фотоматериалов", упомянутых тов. Фединым. Эти тенденции естественны и бесспорны. Но тем не менее некоторые фирмы (взять хотя бы японскую "Фуджи") выпускают несложные среднеформатные фотоаппараты и "в трубу не вылетают". Вероятно, они учитывают ограниченный спрос. Наша же фотопромышленность такой спрос учитывать не хочет и, по-видимому, знать о нем не желает. В 50-60-х годах я иногда пользовался камерой "Москва-4". Фотоаппарат был до примитивности прост, но надежен. И объектив относительно неплох. Этого не скажешь о последующей модели - "Москва-5". Камеру немножко усложнили, ввели дополнительные узлы, однако потеряли при этом надежность. Естественно, "Москва-5" особой популярностью не пользовалась. Так что дело не в "моральном устарении" фотоаппарата, как нам разъясняют, а в техническом несовершенстве, ненадежности простой и недорогой среднеформатной камеры. "Сохраняющийся а стране ограниченный спрос (повторяю, он будет сохраняться всегда - 3. П.) на дешевую среднеформатную фотоаппаратуру, - сказано далее тов. Фединым, - удовлетворяется зеркальными моделями марки "Любитель". Эта фраза может вызвать только возмущение. Во-первых, спрос отнюдь не удовлетворяется по тем же причинам, что и в примере с камерой "Москва-5". Преимущества среднего формата практически не могут быть реализованы из-за крайне низкого качества объектива. Не так давно этот фотоаппарат "улучшили"; сблокировали взвод затвора с перемоткой пленки, немного изменили внешний вид и увеличили цену... почти в три раза. Хорошо, что еще не додумались поставить сюда электронный затвор и экспонометр по системе TTL - можно было поднять цену в 20 раз. Единственное улучшение, которого требовала камера "Любитель-2", - это замена объектива системы "Триплет" на "Индустар" (хотя бы "Индустар-58") без повышения цены или с незначительным подорожанием. Вот тогда бы "ограниченный спрос" начал частично удовлетворяться. Вообще, глядя на профессионально непродуманный, какой-то внесоциальный подход к делу в области производства любительской фотоаппаратуры, можно только посочувствовать многим, особенно молодым, фотолюбителям. Вот, например, появляется новинка - малогабаритный шкальный фотоаппарат "Киев-35А". Это в определенном отношении очень удобная и нужная камера. Хотя ясно, что она также рассчитана на удовлетворение "ограниченного спроса". Однако конструкторы постарались еще больше ограничить этот спрос, "связав руки" владельцу фотоаппарата жесткой автоматикой. Появление этой камеры, как и некоторых других, предшествующих ей, - результат нетворческого перенимания зарубежных образцов без учета сущности и задач развития любительского фототворчества в нашей стране. Производство любительской фотоаппаратуры в капиталистических странах определяется иными, чем у нас, задачами и иной целью. Аппаратура рассчитана прежде всего на рынок, на извлечение прибылей и самое главное - на потребителя, которому принципиально нет никакого дела ни до фотографии как творчества, ни до устройства фотоаппарата. Камера должна "снимать сама". Фирма, производящая фототовары, создает необходимый и бесперебойный сервис для своего потребителя, заботясь о том, чтобы как можно надежнее ограничить его от "шевеления мозгами", получая за это соответствующую мзду. Неудивительно, что разница между уровнями любительской и профессиональной фотографии в капиталистических странах гораздо большая, чем у нас. Культивирование у нас только любительских камер с жесткой автоматикой (то есть без возможности отключения автоматики и работы в ручном режиме) - это, возможно, проявление социальной недальновидности. Фотоаппараты с жесткой системой автоматики (а именно такие предлагают нашим любителям) не научат человека фотографически мыслить, в технике фотографии он многого не поймет и в творчестве не продвинется. А ведь мы стремимся к тому, чтобы любительская фотография стала сферой приложения человеческих способностей... Я не буду касаться низкого конструкторского и технологического исполнения большинства отечественных фотокамер. Однако именно в этой связи решение о разработке дальномерного фотоаппарата типа "Москва" на "новой элементной базе" не вызывает у меня особых надежд. Видно, быть там всему: и электронике, и автоматике (которая может отказать на третьей катушке). Не будет только дешевой, простой, надежной механической камеры с хорошей оптикой, так необходимой многим фотолюбителям да и профессионалам. 3. ПОЗНЯК, кандидат искусствоведения Отсюда: Photohistory http://www.photohistory.ru/1207248170259168.html

Валерий Лобко [ 03 авг, 08 14:08 ]

SIKA+PHOTOGRAPHY Tintype Sika Stanton is an artist and freelance photographer based in Portland, Oregon. …Photolucida has also named three winners of the Oregon Award, established to boost the careers of emerging local photographers: M. Bruce Hall, Alexis Pike and Sika Stanton. http://sikaphotography.com/tintype.html

Валерий Лобко [ 04 авг, 08 18:10 ]

Gerard Malanga Robert Mapplethorpe, 1971 Patti Smith in subway, 1971 Patti Smith on platform in the 68th Street/Lexington Ave, subway station, New York City, 1971 Andy Warhol with The Velvet Underground and Nico, The Castle History of Photography http://www.all-art.org/history658_photography13-26.html * Gerard Malanga Gerard Malanga, poet, photographer and filmmaker, worked closely with Andy Warhol during the artist's most creative period in the mid-Sixties. His several books of poetry, ranging from chic death (1971) to Mythologies of the Heart (1996), have earned him worldwide recognition. Gerard Malanga's photography has been sought after by publishers worldwide and by collectors of discriminating taste for over twenty-five years. The strength of his archive is primarily in the uniqueness of the image as well as the ephemeral shot. A large number of the candid and formal portraits are internationally known images, such as Mick Jagger, William Burroughs and Iggy Pop. Specialties range from Andy Warhol, the Velvet Underground, Edie Sedgwick, and Robert Mapplethorpe to the 1939 New York World's Fair and a wide assortment of nudes and erotica. Extensive collections exist of Keith Richards, Patti Smith, John Ashbery, Nico, Rene Ricard, and Allen Ginsberg and the Beats. New additions include Laszlo Moholy-Nagy, Richard Wright, and Robert Moses. Historical imagery consists of New York cityscapes. http://www.gerardmalanga.com/ * GERARD MALANGA Gerard Malanga continues to write poetry and do photographs. His last book, Archiving Warhol, was put together in eight weeks to coincide with the Andy Warhol retrospective in 2002. (GML) GERARD IS BORN GERARD MEETS ANDY GERARD'S PORN CINEMA GERARD & INTERVIEW PAUL MORRISSEY FIRES GERARD http://www.warholstars.org/indfoto/igerard.html

Валерий Лобко [ 05 авг, 08 18:35 ]

Deborah Turbeville Born and raised in New England, Deborah Turbeville moved to New York at the age of twenty to work for designer Claire McCardell and later became an editor for Harper’s Bazaar and Mademoiselle before turning to photography. Her editorial work appears regularly in such publications as American, British, French, Italian, and Russian Vogue, L’Uomo Vogue, Zoom, and W. Turbeville’s photographic essays in 2004 have included "Patzcuaro, Michoacan, Mexico" (Casa, July 2004), "Russian Soul” (Harper’s Bazaar, December 2004), "Julia Roberts” (The New York Times Magazine, November 14, 2004), and "Ritual Fashion” (BlackBook, December 2004/January 2005). Monographs of her work include Wallflower (1978), Newport Remembered (1994) and Studio St. Petersburg (1997). Her work has been exhibited in galleries and museums, both nationally and internationally. Turbeville's distinctively evocative style was recognized by the Fashion Group Lifetime Award for Fashion Photography in 1989 and the Alfred Eisenstadt Award for Magazine Photography for the Fashion Single Image and Photo Essay in 1998. In 2002, Turbeville received a Fulbright scholarship for a lecture series in photography at the Baltic School of Photography in St. Petersburg, Russia; this year she will be teaching at Smolney Institut in that city, on behalf of Bard College. She divides her time between New York, Mexico, and Russia. http://www.all-art.org/20ct_photo/Turbeville1.htm * Надеюсь, тут не заблокируется: Deborah Turbeville: Applied Photography http://www.icp.org/site/c.dnJGKJNsFqG/b ... eville.htm

Валерий Лобко [ 09 авг, 08 11:19 ]

Ellen Susan: Soldier Portraits Ellen Susan WO1 Ignacio Becera [Soldier Portraits] 2007 Ambrotype 10 x 8 in The wet collodion process was the primary photographic method from the 1850s through the 1880s, encompassing the dates of the American Civil War. The men and women photographed for the Soldier Portraits project are members of the U.S. Army based in Southeast Georgia. Most have deployed to Iraq one to three times since 2003. Many are in Iraq now. The necessarily long exposures of this process often result in an intensity of gaze, and the grainless, highly detailed surface brings out minute details of each individual. These attributes, combined with the historical military associations made me feel that the process could be a meaningful way to photograph contemporary soldiers to provide a counterpoint to the anonymous representations seen in newspapers and on television. I wanted to produce physically enduring, visually arresting images of people who are being sent repeatedly into a war zone. Галерея: 36 иллюстраций http://www.luminous-lint.com/app/vexhib ... _01/2/0/0/

Валерий Лобко [ 09 авг, 08 20:47 ]

PHOTOGRAPHS FROM THE 19th CENTURY: A Process Identification Guide William E. Leyshon Руководство, полезное описаниями фотографических процессов; имеется также глоссарий. Пример: Tintype Nomenclature Tintypes, the name most often used today, were also called Ferrotypes, Melainotypes, Melanotypes, Melaneotypes, Ferrographs, Adamanteans, Adamantines, and several other trade names… …Mr. Griswold issued a rather plaintive statement concerning the many trade names: "Many other names have been given to similar plates, such as Adamantine, Diamond, Eureka, Union, Vernis, Star Ferrotype, Excelsior, and others, among which the most senseless and meaning-less is 'Tintype'. Not a particle of tin, in any shape, is used in making or preparing the plates, or in making the pictures, or has any connection with them anywhere, unless it be, perhaps, the 'tin' which goes into the happy operator's pocket after the successful completion of his work. None of these names, however, have been considered so apt and appropriate as Ferrotype, and it will, doubtless, be generally accepted as long as the pictures are known." Alas, Mr. Griswold, for your optimism. http://www.sharlot.org/archives/photogr ... eyshon.pdf 184 страницы.

Putrach [ 11 авг, 08 20:23 ]

Crime and Punishment Joliet Prison, USA. Photos around the theme of Crime and Punishment in the first half of the 20th century. Special Photograph no. 1606. This photograph was apparently taken in the aftermath of a raid led by CIB Chief Bill Mackay - later to be Commissioner of Police - on a house at 74 Riley Street, 'lower Darlinghurst'. Numerous charges were heard against the 15 men and women arrested. Lessee Joe Bezzina was charged with 'being the keeper of a house frequented by reputed thieves', and some of the others were charged with assault, and with 'being found in a house frequented by reputed thieves'. The prosecution cast the raid in heroic terms - the Chief of the CIB, desperately outnumbered, had struggled hand to hand in 'a sweltering melee in one of the most notorious thieves' kitchens in Sydney'. The defence, on the other hand, described 'a quiet party, a few drinks, some singing ... violently interrupted by a squad of hostile, brawling police' (Truth, 29 January 1928). The gallery was packed with friends of the accused, who loudly jeered the prosecution and police witnesses. Sydney police mug shots, 1912-1930 Harris Hunter, a receiver of stolen goods, is representative of another distinctive category found among the police station mug shots: well dressed subjects, seemingly at their ease, posing like successful bourgeoises. Special Photograph no. 1326. Hunter is listed in the NSW Police Gazette, 1924 as charged, along with William Munro, with receiving stolen goods to the value of £536 4s. 1d., the property of Snow's department store. там еще много тоже в своем роде вид профессиональной фотографии.

Валерий Лобко [ 17 авг, 08 10:54 ]

1mag3 \| Imaginary non-fiction — critical reviews and other notes: City of Shadows Крупно: http://www.1mag3.co.uk/uploads/images/shadows.jpg …It's easy to dump these images at the door of art, like the recent flurry of homeless vernacular photography turned arty-fact, ie into art books. Images of these sorts appear so well composed or anti-composed, even modern (save the sepia) and they all contain the holy grail of 'documentary' photography: authenticity, precisely because they were made without artistic intent... we think anyway. http://www.1mag3.co.uk/articles/129 http://www.pictureaustralia.org http://www.1mag3.co.uk/ http://www.1mag3.co.uk/categories/Photographers

Валерий Лобко [ 18 авг, 08 9:18 ]

Как помнится, этот эффект получал В. Деркач в давние времена в нашей лаборатории в Академии, экспонируя часть времени отпечаток через кальку, расположенную на некотором расстоянии от фотобумаги. Было это во второй половине 70-х. Можно было и с фотоувеличителем экспериментировать, расфокусируя в какой-то момент изображение. Цифровая обработка вообще развязывает руки… Orton Imagery — A “How to” guide for Photographers Text and photography copyright Darwin Wigget Early in my career as a professional photographer, I came across an article by Michael Orton in Popular Photography that literally stopped me in my tracks. The images included with the article were landscape and nature photos unlike anything I had seen before. The photos were painterly, ethereal, and romantic. The article went on to explain how to create these artistic images in a step-by-step process. Armed with this new technique, I excitedly created ‘artistic’ images that went beyond being a pure document of nature and instead seemed to express mood and emotion. So fond was I of Michael Orton’s technique that I told everyone I knew about it and I dubbed it “Orton Imagery”. The technique is now firmly entrenched in the arsenal of creative techniques that photographers use to create expressive imagery. Orton Imagery originally was a slide-film based technique but it can be easily replicated using digital images and photo software. For those not familiar with Orton Imagery here is a summary of the methods for both slide shooters and digital photographers. Film Technique For Orton Imagery, you must use slide film. First photograph the scene of your choice using an aperture of f16 to f22 for maximum depth-of-field. You should purposely overexpose this scene by 2 f-stops. Now change your aperture setting to the widest aperture on your lens (e.g. f2.8 or f4), defocus the lens so you only see blobs of colour, and overexpose this blurry image by one f-stop. Once you get the slides back from the lab take the two overexposed photos out of their slide mounts and sandwich the two images one on top of the other into a new slide mount. It doesn’t matter if the blurry photo or the sharp photo is on top; just physically place the two images together into one mount. The resulting slide sandwich will now look properly exposed but with snippets of sharpness floating in a sea of blurred colour. Very cool! Photos 1, and 2 are the overexposed components, photo 3 is the final slide sandwich. Here are a few tips to get the best results… http://www.naturephotographers.net/arti ... 106-1.html Orton Technique Slide sandwiches, double exposures and multiple exposures have become quite popular lately. And no wonder, they are extremely easy to do and make for some gorgeous artistic images. One of my favourite methods of sandwiching is a technique that was developed by the Vancouver Island photographer, Michael Orton; the “Orton Technique”. This method consists of taking two pictures of the exact same subject, identically framed, one in focus and one out of focus. When they are sandwiched together, you get surreal artistic images that seems to have a magical glow… Many other famous photographers use this technique frequently. Some are: Richard Martin www.richardmartinphoto.com Andre Gallant www.andregallant.com Stephen Patterson www.stephenpatterson.com http://www.tonydegroot.com/Tips02.htm

Валерий Лобко [ 18 авг, 08 14:12 ]

GENDELL GALLERY: Figurative Photography: Selected Figurative & Portraiture Highlights Duane Michals Andrea Modica Marsha Burns http://artseal.ypguides.net/page/ohb5/F ... ibits.html

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