Brian Clamp, of Clamp Art in New York, observes that “the vast majority of (art)
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photographers use some digital component.” Yet, how much they use, and how they use it, is a ����������������������������������������������������������������� personal choice. In the words of Chalfont, PA-based Alex Novak, editor of the I Photo newsletter, “photographers…are skittish about digital; we are starting to see change, though it is not yet total.”
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��� Wednesday, October 11, 2006 | Sign In | Register ABN Home
����������������������� ������������������������� Features ��������������������� ����������������������� ����� In the News There’s no mistaking the role of digital manipulation ���� ������� � ��� ���� ������������� ������� ������������������������������������ Issue��� Date: ABN� �������� - October 06,�������� Posted On: 10/6/2006 in these hyper-photos by Jean-François Rauzier. Top Departments image: For “Latest News,” which measures 48 x Time for Digital Barden Prisant, ABN Contributing Editor 15.5 yards, Rauzier shot individual photographs of Issue Date: ABN - October 06, Posted On: 10/6/2006 Article Archives Ads by Google thousands of European,simply American, and African layers over itAsian textures scanned from old Time for Digital tintypes them or books.into It mightajust be considered Show Dates A picture is worth a thousand megabytes? newspapers and assembled “sea” with aa Barden Prisant, ABN Contributing Editor a hand-painted digital reworking of the old double negative concept. ���� ��� ������� � �������� � ��� �������� ���� ������������� ������� ����������������������������������� “floating alter.” The alter shows Rauzier’s regularly While it may not have the same ring to it, the digital photo. One might not be Subscribe to ABN Charles Wysocki and Yankus are using their relatively revolution is forcing us all to think in these terms. Of Art Sale seen in black” as Both an Holden orator questioning surprised to learn that A picture is worth a thousand megabytes? “low-tech” manipulations to generate images that look new technologies have“man always brought aboutshe New releases & course, very much like 19thof century paintings. Those of paradigm shifts. In the words of the Frenchseated society while in the middle 12 colors copywriters has a self-avowed interest sold-out editions. While it may not have the same ring to it, the digital Holden exhibit the jewel-like and off-kilter photographer, Jean-François Rauzier, “when Editorial Objectives/Staff revolution is forcing usFree all to think in these terms. Of shipping. sensibilities of the Pre-Raphaelites, while, if you (or itperhaps censors?). Bottom image: When Rauzier photography came along, created a problem for not only in Victorian course, new technologies haveprices. always broughtthe about squint your eyes, a piece by Yankus could be world of painting.” Now, that digitization has Great Editorial Guidelines painting, but also in the New paradigm shifts. In thewww.ArtUSA.com words of the French come along, has mistaken for ahe turn-of-the-century Paris street it created acame problem for the world last to Artexpo York, found himself photographer, Jean-François Rauzier, “when of photography? scene. fantastical, hallucinatory Advertising Information “On Time,” photography cameby along,Argent it createdpour a problem for invited to a party at an apartment overlooking the world of painting.” Now, that digitization has By contrast, the photographs generated by the According to Stephen Cohen, of director literature theof photo day.newwas so Jean-François Rauzier, l'écriture ����������������������� Central Park. takenof with the digital view that helook Contact Us come along, has it created a problem for the world devotees “adventurous manipulation” york, “learning digital is another career.” AnyHe of us Participez à Holden is represented by of photography? hyper-photo, 790 x 377 distinctly high-tech. Within iconic this school view, of thought, who have tried to make sense of the panoply of ������������������������� “On Time,” by later returned to create the panoramic, there seem to be two main sects: hyper-photos and l'élaboration du settings site on a digital cameraWorks, will empathize. We may Vintage Ltd., one Cohen, example of According director of photo newhow to ����������������������� ��������������������� collage. ��� � toisStephen Jean-François Rauzier, �inches, shown in, “New Reservoir,” 590 know take a basic snapshot, but most of York us x 167 inches. David LaChapelle des extraits et york, photographer's “learning digital isOriginal another career.” Any of us mastered haven’t the miscellany of available options. Chalfont, PA. this art works hyper-photo, 790 x 377 ����� who have tried to make sense of the of ������������������������� gagnez depanoply l'argent available Ltd Hyper-Photos Parallel settings on a digital camera will empathize. We may works. Photographer Ken Haas, Sharonthen, Springs, In what direction, is theNY, digital revolution starting to take the world of art photography? To inches, is one example of hyper-Surrealistic www.Shvoong.com editions, signed ��������������������� know how to take a basic snapshot, but mostbelieves of us that this is just fine since, “in the public eye, answer the question, one mustHyper-Realism consider the three phases inherent in the creation of a photo: image Hyper-Realism Hyperphoto parallel and numbered haven’t mastered the miscellany of available options. this photographer's photography iscapture, a visualimage tape����� recorder. For most manipulation, and image printing. www.f2gallery.com just a way of keeping a record.” hyper-Surrealistic works. Photographer Ken Haas, Sharon Springs, NY,people, it isRauzier sees his hyper-photos as the photographic equivalent of hyper-Realistic paintings, (which With the ubiquity of digital cameras, one would naturally assume that professionals always usewere them, In Case You Missed It
believes that this is just fine since, “in the public eye, for However, atoo. professional “art photographer,” this as Richard Estes). In fact, Rauzier says that he “wants the popularized in the 1970s by such artists Théâtre en photography is not enough. is a visual tape recorder. For most viewer to have to make an effort to tell if it’s a photo or a painting.” To create a work, he starts with people, it is just a way oftéléchargement keeping a record.” noOne fewer than 600-700 individual photos of a single scene taken over a period of at least 1-2 hours. He also would be wrong. Brian Clamp, of Clamp Art inTéléchargez New York, observes of (art) then majority stitches them together using Photoshop to create a monumental (up to 15 meters long) et that “the vast However, for a professional “art photographer,” thismuch“dream-like photographers use some digital component.” Yet, how they use, and how they use it, is a picture.” “I’ve seen very few using digital cameras,” says Start a Framing large Alex Novak, is not enough. personal choice. In the wordsvisionnez of Chalfont,un PA-based editor of Clamp the I Photo newsletter, Novak, and agrees. “Most artists are still Business “photographers…are skittish about digital; we are de starting to Interestingly, see change, though it that is scanning; not yetPhotoshop total.” he found only could manage de pièces shooting film and then I only show one who the monumental task of creating the 10-15 ���������������������� orchoix Brian Clamp, of Clamp Art in New York, observes that “the vast majority ofjust (art)frame like a gigabyte files which his technique creates. Thatitprogram, starts with digital images.” The main reason, would as well, includes the software necessary to théâtre. photographers use some digital component.” Yet, how much they use, and how use it, is a pro in 4they days. create HDR (high dynamic range) images. In this case, ������������������������� seem, is the limitation placed upon the resolution thata photographer again takes several different personal choice. In the words of Chalfont, PA-based Alex Novak, editorCALL ofwww.imineo.com the I Photo newsletter, photos of achieved the same in scene, with large differences between them. The program then can be the digital realm.exposure The current crop “photographers…are skittish about digital; we are starting to see change, though it is not yet total.” generates a single composite image with a superior light-to-dark range that makes it look, just like a ���������������� 1-888-840-9605 of���������������������� cameras designed to replace the venerable 35mm painting. Nikon yields images that, according to Clamp, can NOW ���������������������� ������������������������� only be realistically enlarged to 22 x 17 inches. After www.pictureframingschool.com that, they develop the jagged edges and distortions, Case for Collage Zlio: générez des ���������������� which we have all seen when overenlarging a jpeg.
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���������������������� One very noticeable trend in art photography is the