Archives For How To

A very interesting article about how current technology will eliminate the working methods of the individual pro photographer and change the game again. Yahoo CEO Marissa Mayer thinks we don’t need pro photographers anymore but she missed the point. It’s not that there are so many humans with camera’s – it’s the ability to place cameras everywhere we need, to get every viewpoint recorded, that now changes the game in a big way. Clayton Cubitt has decided we can forget about the Decisive Moment because we now live in the Constant Moment.

 

With the iPhone 5 camera module currently estimated to cost about $10/unit, and dropping like a rock with the inexorability of Moore’s Law, we can see how even an individual photographer might deploy hundreds of these micro-networked cameras for less than it costs to buy one current professional DSLR.

What might a photographer do with a grid of networked cameras like this, with their phone as the “viewfinder?” A street photographer could deploy them all over a neighborhood of interest, catching weeks worth of decisive moments to choose from at leisure.

A photojournalist could embed them all across a war zone, on both sides of the battle, to achieve a level of reality and objectivity never seen before. A sports photographer could blanket the stadium and capture every angle, for the entire game, even from each player’s perspective.

Clayton Cubitt  via The Decisive Moment is Dead. Long Live the Constant Moment.

Scorsese lives to create great cinema. Take an hour to learn all you need to know about why film is so unique among art forms by a true master of the medium. (If you have not seen his love poem to the art of cinema Hugo you are missing something very special).

Martin Scorsese, Academy Award winning American film director, screenwriter, producer, actor, film historian and preservationist delivers the 42nd annual Jefferson Lecture on April 1, 2013 at the John F. Kennedy Center for the Performing Arts in Washington, DC.

Scorsese’s lecture: “Persistence of Vision: Reading the Language of Cinema,”

 

via the NEH web site

 

Chuck Close paints big, methodical portraits and has always depended on photographs in his art making process. This exhibition (April 16 – May 24, 2013)  at Eykyn/Maclean Gallery takes you deep into his methodology by showing you his decision-making process as they progress from photograph to paint. This looks to be a rare and great show that reminds us how, optics, photography and painting have walked hand in hand since before the invention of the Camera Lucida.

 

 

“That is the great thing about the maquettes. You see the decisions that I made, where those lines fall … And if someone were going to take a lot of time analyzing them I think they would find that there’s a method in the madness.”

–Chuck Close, 2013

via gallery web site

The MōVI is kind of a game changer if your a motion person. Created by a little company called Freefly

First use of this motion stabilizer system in this short by Vincent Laforet:

http://vimeo.com/62917185

 

 

Diasec is a patented process used for face-mounting Chromogenic prints to plexiglass and became very popular in the 1990’s by artist such as Andreas Gursky. C-prints fade whether they are mounted to plexiglass or not. Plexiglas just adds more complications.  Because of this I switched to more permanent processes but many very well known artists continue to use this long out of date technology which is a puzzle for me to no end. C-print Mounted to Plexiglass & the Issues with Fading is a huge concern you need to pay attention to.

via the best printer in NYC: http://laumont.com

 

Gursky was one of the first artists to make oversized c-prints. “If you were going to make big colour prints in the early 1990s, you had to do it chromogenically,” says Wilson. “Inkjet printing was just not good enough then.” Because c-prints on this scale are relatively recent it is only now that collectors and conservators are starting to understand fully the challenges of maintaining such works.

Another issue with Gursky’s work is that each image is face-mounted; a layer of Plexiglass is placed on top of the image and, in effect, the picture is fused to it. Conservators say they do not yet know if this process, which gives photographs a slick, wet look, accelerates degradation. Plexiglass is also sensitive and scratches easily. Because the image is fused to it, it cannot be replaced the way a layer of glass would be.

via C-prints fade into the light – The Art Newspaper.