Monterey Museum of Art Exhibition Focuses On The Group f/64 Photographers

MONTEREY, Calif., June 11, 2012 /PRNewswire-USNewswire/ — The Monterey Museum of Art is very proud to present In Sharp Focus: The Legacy of Monterey Photography, June 16-September 30, 2012 at the MMA La Mirada, 720 Via Mirada, Monterey, CA, 93940.

Willard Van Dyke, Boxer's Hands, circa 1933, gelatin silver print, courtesy Scott Nichols Gallery, (C) 2012 Willard Van Dyke estate. All rights reserved. (PRNewsFoto/Monterey Museum of Art)

In Sharp Focus: the Legacy of Monterey Photography will be the third in a series of major photography exhibitions organized by the Monterey Museum of Art. In Sharp Focus will examine the Group f/64 photographers—seven innovative northern California artists including Ansel Adams, Edward Weston,Imogen Cunningham, and Alma Lavenson—and their continuing legacy to the Monterey Peninsula. Turning away from the expressive, soft-focused, pictorial style of photography of the early twentieth century, these artists instead delivered realism, precision, high contrast, and intense detail without interpretive manipulation. Their approach was a modernist departure of its time, which revealed the natural world as never before and transformed American photography. Complementing these legendary artists will be works by Wynn Bullock (1902-1975) and by others including Al Weber, John Sexton, Martha Casanave, Bob Kolbrener who are perpetuating the legacy by capturing the magical and evocative subjects of the Montereyregion and beyond.

The success of previous exhibitions—Ansel Adams: Portrait of America (2010) and Edward Weston: American Photographer (2011)—have solidly positioned the Monterey Museum of Art as a leading authority on the history of twentieth century California photography. In Sharp Focus: the Legacy of Monterey Photography will build on this critical and popular acclaim.

Enhancing the exhibition will be educational programs and activities for adults, families and children including: docent-led tours, scholarly lectures, and the Museum’s popular Family Day with free admission and art activities for all ages.

Museum hours are Wednesday-Saturday, 11 am-5 pm, Sunday, 1-4 pm. For more information visitwww.montereyart.org or call 831.372.5477.

LoFi Gallery in London Call for Submissions For Their Opening Exhibition

LFG call for submissions

Are you a LoFi Fool?

iPhone photography by Wayne J. Cosshall

A brand new London gallery is looking for the best and most interesting images taken with LoFi cameras – that’s Holga, Lomo, Polaroid, Diana and iPhone – to display in their inaugural exhibition in August.

It doesn’t matter if you’re amateur or professional, young or old. If you have a catalogue of work or a single great image. We care about good pictures. Any selected photos will be featured on the online gallery, with a smaller collection featured in the gallery space itself.

All work featured will be on sale to the general public, and cash prizes will be awarded at the inaugural exhibition for the most interesting photographs in three categories.

If you have some great LoFi pictures, email [email protected] for details on how to apply.

Entry fees may be applicable.

LoFi Gallery, London Is a New Gallery for LoFo Photography

A brand new gallery celebrating the art of LoFi photography.

Jump Photo Arts, the team behind the phenomenally successful Starsnappers Project, is now launching a brand new art gallery in London dedicated to LoFi photography.

iPhone photography by Wayne J. Cosshall

The Starsnappers project began in 2003 when digital technology had already taken hold of the photographic industry.  Starsnappers developed its portrait workshops with the aim of allowing children to use state of the art digital camera equipment under the supervision of professional photographers.  The immediacy of the digital format allowed children to see the fruits of their creativity without the delay of image processing and printing.

Continuing their policy of embracing all things photography, Jump Photo Arts are now launching a brand new gallery celebrating artworks at the other end of the photographic spectrum. LoFi photography includes film cameras such as Holga, Lomo, Diana, and Polaroid.  iPhone photography will also be included due to the camera’s primitive lens.

Visitors will be able to view and purchase a selection of the most interesting examples of LoFi photography – all full-size and professionally framed.  It’s a great opportunity to pick up a unique, fascinating piece of art whilst fostering the careers of emerging artists and  talent alike.

It’s often difficult for artists at the early stages of their career to find professional outlets for their work. The LoFi Gallery, London will champion new practitioners who are keeping the art of analogue photography alive, whilst offering them a public platform to display their photos.

Artistic Director Marc Kenyon says: “In the age of instant digital photography, whereby you can keep clicking until you have a perfect recreation of your subject, we hope to bring back some of the mystery, spontaneity and magic to the craft. It’s about capturing a moment in time rather than replicating images. The photos we love are stimulating, beautiful, sometimes challenging, but always authentic.”

The LoFi Gallery, London is the first initiative from newly relaunched not-for-profit arts organisation, Jump Photo Arts. Formerly known as the Starsnappers Project, the change in name reflects the ambitious new rostrum of projects set to launch in 2012. Watch this space for more exciting new developments.

The LoFi Gallery, London will be based in Deptford, South East London. The inaugural exhibition will open on 1st August 2012.

If you would like to submit your Lo Fi images for consideration, please email [email protected]

For press enquiries, please contact [email protected]

Impressions of Light Book Review

Impressions of Light

Photographs by William Neill

Impressions of Light was published in 2008 in book form. I found it recently as an eBook from William’s website and bought it.

The ebook comes as two PDFs, one that preserves the spread design of the paper book, the other as individual pages. It is the latter that is easier to use when reading electronically, but it is great having both so you can see how the book was designed, since I do not have a print copy.

Impressions of Light covers the photographer’s experimentation with long exposure and movement in photographing the landscape, nature and water. He uses this to abstract his subject, reducing it to its elemental parts and, by removing the detail that grabs your attention, allowing you to concentrate on the feeling and emotion.

The book is immensely successful. The images are stunning, William showing a real feel for this approach and a mastery of his technique. There is an amazing calm and Zen-like quality to the book, despite the obvious amount of movement employed. The individual images are beautiful and transcendental, truly taking you into the sublime that is nature and the landscape. something those of you who shoot the landscape will know.

The PDF is 85 pages long, in the individual page version, and each is a gem. The book is divided into four image sections: forest, flora, landscape and water. There is an opening essay by William and a section of photographic information at the end.

My only criticism of the book is a small one. The last section, Water, is mainly beach and ocean images, but the last four are lake images and are jarringly different when you flip the page and land straight on them. I think the appearance might have worked better with the water section broken into Ocean and Lake sections, so the transition was less sudden. Apart from that I think the book is well designed and the images both well chosen and sequenced.

William sells the book and ebook from his website. The paper book sells for US$150, while the electronic book version is a bargain at US$15. At the time of writing it was selling at US$10 and at this it is a must buy for anyone into photography. Very highly recommended. Do both yourself and your photography a favour and buy yourself a copy.

 

www.williamneill.com

 

Call for Artists: SDAI 51st International Award Exhibition

The San Diego Art Institute’s “Museum of the Living Artist” is a 501 c 3 non-profit organization that promotes the visual arts.
We are calling artists to submit to our 51st International Award Exhibition.

SDAI is a great institution supporting the arts. It has excellent, modern exhibition facilities.

The exhibition will run from April 16 to May 29, 2011

Juror is Roxana Velásquez, Executive Director – San Diego Museum of Art

Deadline for online submission is January 30, 2011

All media (except crafts/functional art). Total awards $6,750.

Entry Fee: $50/2 and $40/1 – discounts available for SDAI members.

Online submission only at www.sandiego-art.org (prospectus contains all details).
Contact info: Kerstin Robers       admin (at) sandiego-art.org

 

San Deigo Art Institute
SDAI Exhibition Space

 

 

Digital ImageMaker International is Coming Out as a Magazine and App for iPad

Call for Submissions

Digital ImageMaker International is coming out as both a print magazine and as an app for iPad.

DIMi looks at all areas of image making that involve some aspect of the digital. We are aiming to create ways for people to get recognition for their work, to help them get gallery shows and to ultimately help them obtain sales if that is important. The content includes, but is not limited to:

  • Digital art
  • Photography, whether commercial, documentary, art or personal, that involves digital in some part of the process, whether capture, processing or output
  • Traditional photographic processes that include either digital image capture or a digital negative in their production
  • Fractals
  • 3D graphics
  • Video
  • Animation

As such, we are seeking submissions of the following:

  • Portfolios of high quality work
  • Strong single pieces from emerging practitioners
  • Articles: how-to, philosophy of imaging, inspirational, exhibition reviews of major shows and such

For photography and digital art educators we are keen to publish portfolios of collected student works.

For an example of how the app form will function you can look at our first book as an app, Photography Wisdom for iPad at http://itunes.com/apps/PhotographyWisdom

More to control submissions, we are placing a submission fee on portfolios and individual images. Portfolios attract a submission fee of US$7.50 while individual images attract a submission fee of $4.50 paid through PayPal only. For submissions from within Australia this price includes 10% GST. This is non-refundable, does not guarantee you publication and your submissions will only be examined after payment through Paypal has been received. In the case of tertiary educators submitting portfolios of student work we will forego the submission fee so long as you are from a recognised tertiary educational institution and clearly identify it as such on your submission.

The Paypal account for TechnoMagickal Pty Ltd is wayne at (@) dimagemaker.com

Article submissions are not paid at this stage, though we intend to start paying for articles from issue 2 onwards if possible. Basically it goes against the grain not to pay, so we will as soon as we can.

DIMi is not a how-to magazine. Its focus is more on what people are doing and why. That said, we will include quality how-to features that make sense in the context of the other content.

The aim is to make the most use of the potential the digital tools are giving us. The print edition is being done as print-on-demand.

We are looking to publish only the highest quality work. Because of potential issues with the app store approval process we cannot accept pornographic or explicit sexual material or any material that can be construed as inciting hatred, discrimination, etc. We may have to be careful with nudity as well but will explore this as we go. Naturally we reserve the final right to decide what work we accept and publish. We are hoping we can relax some or all of these restrictions over time as everyone figures out how to deal with these issues and art in electronic distribution.

We are also happy to publish articles that we disagree with or work that we find challenging. That’s the nature of the art and writing world and it is pretty pointless taking your bat and ball and running off home to mummy when people disagree with you. Such work might generate interesting debates that might help to clarify the issue over time for our readers, so it is great.

So what do we want from you? Well, if you have portfolios of interesting work then we want to see them. We need JPEGs of the images initially, sized to maximum dimension 1024 pixels (and I mean exactly that), along with a Word or similar document with something like an artist’s statement or statement of your philosophy or approach. If we choose to publish your submission we will contact you for higher resolution images (for the print version) as well as to conduct an interview to fill out the text. Please limit initial submissions to 8 -10 images initially. If we want to publish your work we will likely ask to see more.

Those submitting student’s work should pick a representative sample of the work you expect to be publishable. That means going through your students’ work and choosing that which you consider good enough to publish and submitting a selection that represents the whole range from the best to the worse you think is able to be published.

If you have an article you would like to submit we are happy to consider it. Again send JPEG screen resolution images with the article initially and we will go from there. An article is not an opportunity to slip in a portfolio by another name.

If you have single knock-out images rather than a whole portfolio, then we would be happy to examine them for possible publication in a section that will run each issue of inspirational material.

For those submitting video or animation material we obviously cannot work with Flash.  We would prefer a link to where we can view the video on the web somewhere initially, so we only have to handle large files when we know we will publish them. Video will go in the app but not, obviously, in the print edition. That will go online and a link provided.

With whatever you submit, your submission means that you are willing to have your work published by DIMi, that you own the copyright for the submission and have all relevant rights and permissions to do so, such as model and property releases, etc. Further your submission means that you indemnify Digital ImageMaker International, Technomagickal Pty Ltd and Sci-Art Trust, plus our assignees and partners, from any claims relating to copyright, rights and permissions relating to your submission.

DIMi wants no rights over your submission beyond a perpetual and non-exclusive right to publish your work in any form, electronic or print, indefinitely, but only in the form of the DIMi magazine or any special issues or accumulations (such as a Best of DIMi) or in the advertising of such. Your work will always be published with your name and, wherever possible, a link to a site where people can see more of your work and contact you, except in the case of illustrations showing the magazine in advertising or on the app store.

If you are submitting an article then the above all applies, as well as the requirement that the article has either not been published or submitted elsewhere, or if it has been published elsewhere that you retain the rights to further publication.

We are also happy to accept suggestions for ways we can better serve our readership.

The first issue will be published when we have enough suitable material. Following that we are aiming for a new issue every second month, but would like to ramp that up quickly to a more frequent schedule. We would rather do smaller issues more frequently as this will keep the print cost down and thus make it more feasible for featured artists and photographers to use multiple copies as promotional tools and when seeking things like gallery representation, exhibitions, grant proposals, etc.

People with work in the issue will be provided with a PDF the article covering them. Print and app versions will have to be bought.

Feedback is welcome.

Please email me offlist on wayne at (@) dimagemaker.com

Please put the word SUBMISSION in the Subject if that is what you are doing.

BTW if you email a submission and don’t hear anything for some time, don’t stress. If you haven’t heard within a month or two then an email from the same address you sent the submission from enquiring if we received it makes sense as you might have been caught by a spam filter or such. If you don’t get a reply from that, try an email from a different address.

 

 

HP Supports Platinum Printing and Other Alternative Processes

In an interesting and timely development, HP has released a paper preset for their Z3200 large format printer line to make the production of digital negatives for alternative chemical photographic processed, like platinum and palladium printing easier.

This is timely indeed, because of a rise in interest in what is called alternative printing processes and I highly commend HP to taking this step. Photographers need all the options they can get and anything that makes this easier is a wonderful development.

Apart from the preset, HP has produced an excellent PDF of the process. Let me quote from it about how their preset works: “The process described here was performed with the goal of creating feasible negatives for monochrome and color alternative process such as platinum/palladium, carbon, cyanotype, gum, carbro, multicolor carbon, and tri-color gum” and then “From a technical point of view, what is inside this preset is a green ink separation that has been linearized in terms of ultraviolet light opacity. The advantage of having this linearization is that when printing a linear ramp of green ink values with this paper preset, the result will be a negative with a near-linear response in any alternative process based on UV light. In certain cases, some calibration may provide additional improvements. However, the tools needed to perform this calibration are part of the standard printer software and hardware.”

This further quote from the same PDF makes the process clear to those used to alternative process printing:

“In this solution, the green ink acts as a color filter for ultraviolet light. The densest part of the negative contains a maximum quantity of ink. This maximum ink must be able to block UV light in such a way that the paper will be left blank after exposing it trough this maximum ink combination. In order to reach a maximum level of opacity, which will be different for every process, black ink is combined with the green one.

When a RGB image is sent to the printer, the Green channel in the image will be used to form the final negative and the Red channel will be used to control opacity using Black ink. Think of the Red channel as a kind of red filter that will control the maximum opacity of the negative.

To find out how much black ink is needed in your process, a form of calibration process needs to be performed first:

  • First, the correct exposure time for your process using your film must be determined. This exposure time is also called the standard printing time. This time is calculated by making a test strip using a piece of the negative film substrate. Every strip must contain a portion of film substrate and a portion of paper not covered by the film. The exposure time where the achieved black under the film is the same that you have on the paper will be your standard printing time.
  • Then a calibration strip must be printed using your standard printing time to know which quantity of black in combination with green will yield a clean white on the paper.”

Most of the alternative processes rely on UV exposure, either from the sun or from an artificial light source, to actually produce the chemical changes in the paper coating that you apply. Since HP know the exact UV characteristics of their inks they are the right people to achieve this and do so accurately.

For more information about this I can recommend the following sources:

A big well done to HP, especially given that their process supports the use of non-HP media, such as the Premier Imaging Products film and the often used Pictorico OHP one. It seems like it should work with other clear films too.

I’ll be incorporating this into the workshop I run on digital negatives.