Check out this interesting article (and review) from TechRadar, about the recently developed Google Glass.

‘Google Glass is an attempt to free data from desktop computers and portable devices like phones and tablets, and place it right in front of your eyes.

Essentially, Google Glass is a camera, display, touchpad, battery and microphone built into spectacle frames so that you can perch a display in your field of vision, film, take pictures, search and translate on the go.’ Read the full article here

Source:
www.techradar.com

New Polaroid Film commissioned.

October 15th, 2009

“…the Polaroid licensee – The Summit Global Group – now can’t resist any longer and announced at a press conference on October 13th in Hongkong that they will re-launch some of the most famous Polaroid Instant Cameras.

Therefore they are commissioning The Impossible Project to develop and produce a limited edition of Polaroid branded Instant Films in the middle of 2010.” Read more.

NZIPP Iris Awards

May 25th, 2009

The Epson/ NZIPP Iris Awards Exhibition. June 4- June 26.  Vero Centre Foyer, 48 Shortland St, Auck CBD.

An exhibition of New Zealand’s professional photographers finest work. Showcasing 150 of the highest scoring photographs from the 2008 Awards (gold, silver and bronze).

Slow Light – pinhole photography by Jenny Tomlin, Janis Mysliwiec, Neil Finlay

Lopdell House, 418 Titirangi Rd. Waitakere City
In the Spiral Gallery (upstairs)
Open daily from 10am-4.30pm

Opens 6pm, Thursday 28 May, Exhibition runs Friday 29May – 20 June
‘Neil Finlay, Janis Mysliwiec and Jenny Tomlin explore the particular qualities of the pinhole process in relation to their photographic practices. Each working in the landscape, from domestic to remote, or using it in reference to other photographic processes. Pinhole is deceptive in its simplicity – suspending the gap of uncertainty and imprecise control. The familiar becomes ambiguous and vice versa’.

Pinhole weekend workshop
Venue Lopdell House basement studio/darkroom
20 – 21 June, 9.30am – 4.30pm
Fee $130.00 includes all materials
Prebooking essential

This is a practical hands-on workshop exploring the surreal world of pinhole photography. Looking at other photographer’s work then making your own cameras, through to honing your exposures with paper negatives processed in the darkroom. We will be celebrating the accident and looking at what these cameras do well.

Contact Jenny for more information: jennytomlin@yahoo.co.nz

New Opticmix web site

May 12th, 2009

Kevin Church, the Titirangi, Auckland-based custom digital printer for artists, has a new web site at www.opticmix.co.nz. It carries news on equipment, processes, and paper stock, along with images of recently completed works shown with the approval of his clients. Current works shown include those of et al, Paul Hartigan, Judy Millar, Richard Killeen, Ans Westra, Brent Wong and Jan Young.

Darren Glass: Camera 028: Internal Small, 2000; and 029: Coastline Cam, 2000-2003. A Field Guide to Camera Species, pages 34-35

Darren Glass: Camera 028: Internal Small, 2000; and 029: Coastline Cam, 2000-2003. A Field Guide to Camera Species, pages 34-35

 Darren Glass. A Field Guide to Camera Species. Rim Books*, Auckland, 2009. $40.00.

Darren Glass has a growing reputation as one of New Zealand’s most imaginative photographers. His first book, A Field Guide to Camera Species, is hot off the press and proves that he is also our most innovative camera maker.

Never content with just the one-point perspective of the typical pinhole camera, despite the seemingly infinite depth of field, and inducement to explore the world from new angles, Glass early experimented with a homemade stereo pinhole camera in 1990. The result, he writes, was an extreme wide-angle camera that had to be placed within two or three centimeters of its subject. (Pinhole photographs are know for the all-over equal un-sharpness with which all objects in the frame are rendered, but can look reasonably sharp to the human eye.)

Since then, Glass has made a huge range of innovative cameras, with anything from one to 105 apertures, designed most often to do a specific task, and make economical use of unusual film sizes in black & white or colour. In one case he made a camera to carry a full 70-metre long paper negative.

By no means all of his cameras worked to his satisfaction, but his droll description of each camera and each attempt, not to mention the eccentric beauty of the 90 cameras illustrated, feed one’s imagination with an abundance of possibilities. Hoping that his efforts will inspire other’s to make their own cameras, he kindly provides four pages of serious instruction.

Among his gems are the frisbee camera. And Icky Thump, his large donut- shaped camera with 26 apertures (reflecting his age when it was made), designed specifically for producing 360 degree panoramas, or rolling down a volcanic crater! His Coastline Cam, of course, was designed in the shape of a particular coastline he wanted to photograph. Of his Log camera (No. 061) with 14 pinholes, he writes that it was ‘designed to depict the world (earth, foliage and sky) from the viewpoint of a log….. Operator unsuccessful in producing a satisfying image to date. Well camouflaged. Can be abandoned and retrieved at leisure.’
This book, sadly, does not include any of the amazing photographs made with these cameras, but going on his exhibited and published works to date, whether his images are simple or complicated in form, they are frequently exquisite and always intriguing. They are exciting because they constantly challenge what one expects to see from a camera. They function as a kind of metaphysical contemplation of the world, through an alternative vision that challenges the domination of one-point perspective in photography. His images defy easy recognition and interpretation in the most delightful of ways, as Glass, following his own muse, explores new ways to make a picture.

Presented as a chronological catalogue of 90 of the pin-hole cameras he has made since 1990, A Field Guide to Camera Species, shares Glass’s enthusiasm and delight in low-tech photography of the most sophisticated kind. It deserves the widest audience. In fact, it would be good to see a field guide to his photographs, and some kind of award from the Minister of Finance for fiscal prudence during the current recession.
—John B. Turner.

*Order your copy from Rim Books, P.O. Box 68896, Newton, Auckland; or from Anna Miles Gallery, www.annamilesgallery.com, where you can also see a portfolio of Glass’s photographs.

Photo Synthesis

February 9th, 2009

Universal College of Learning are hosting an exhibition of alternative photographic processes in Whanganui called photosynthesis as part of the Photographic Society of New Zealand’s Whanganui In The Raw Conference. See below for details.

Well worth a look for those interested in the Antarctic and exemplary panoramic photography, is Stuart D. Klipper’s The Antarctic: From the Circle to the Pole, with background texts on the place and the photographer by Guy Guthridge, William L. Fox, and, Steven Pyne. (Chronicle Books, San Francisco, 2008).
It is a long way from Minneapolis, Minnesota, where he lives, but the US photographer, Stuart D. Klipper, who has been to the Antarctic half a dozen times since 1987, is fascinated by its almost unbelievable clarity and otherworldliness. “This is a place that is so far apart from the mainstream of human experience, not just beyond the embrace of culture and history, but even the evolution of our species on the planet “, he once told an interviewer. “Such a vantage point allows one to cast one’s eyes back at everything else – that’s the sort of clarity I’m getting at.”
Of particular interest in this handsome 38 x 23 cm book, which includes over 100 colour photographs, are his panoramic images, taken with a 110-degree Linhof Technorama camera, and exhibit a surprising variety of imagery hewn from this legendary difficult and dangerous terrain. That the he book opens bottom to top (like a calendar) to view the panoramic pictures is another striking feature, while the type pages are viewed conventionally on the vertical. This unusual design works especially well for showing the panoramas.
Klipper was born in the Bronx, New York, in 1941. His work has been exhibited at major galleries in the U.S., and he is a recipient of grants from the National Endowment for the Arts, and Guggenheim foundation. He was also awarded an Antarctic Service Medal from the U.S. Navy, for his photography in the Antarctic.
For more Klipper photographs go to the Olson-Larsen Gallery site at http://www.olsonlarsen.com/artists.cfm?artist_id=662&cmd=display

Stuart D. Klipper photograph from The Antarctic: From the Circle to the Pole

A unique opportunity to spend 3 up-close days with John Gossage and Alec Soth two of the most influential American photographers working today.

Friday January 16th – Sunday January 18th 2009
AUT School of Art and Design, ST PAUL ST Gallery, Auckland City

Facilitated over three days by Harvey Benge, John and Alex will talk about their working methods and outline the strategies they have developed to shape their own unique photographic styles and approaches. From a position that “anything is possible” the workshop will look at photo based art practise in a post-modern digital cyber world where the possibilities for making and showing work are endless. Participants will also have the opportunity to have their work constructively reviewed by John and Alec who will offer feedback and suggest ways forward.

Bruce Connew comments on a previous workshop..”I must congratulate the AUT School of Art and Design for hosting an extraordinary workshop with Harvey Benge, Peter Biolabrezski and the incomparable Antoine D’Agata. All are world class, at the top of their respective games, while one in particular is on his way to greatness – should he survive the journey. These workshops offer a rare and honest insight into world class photographers practices and the varied and complex world of photo art. They give each participating photographer a way forward, no matter the stage of career. That AUT should be involved in assisting Harvey Benge to bring such an intellectual and accomplished level of photographer to New Zealand is an absolute credit to the School’s commitment to photography. Very, very well done….these workshops are career-defining days for any photographer.”

John Gossage born in Staten Island New York in 1946 is noted for his artist’s books and other publications using his photographs to explore under-recognised elements of the urban environment and themes of surveillance, memory and the relationship between architecture and power. He has shown his photographs in solo and group exhibitions since 1963 and his work is held in numerous private and public collections, including the Museum of Modern Art, New York, the Corcoran Gallery of Art, Washington D.C His publications include Berlin in the Time of the Wall (2004), The Romance Industry (2002), Empire (2000), There and Gone (1997), The Things That Animals Care About (1988), Three Days in Berlin 1987 (1987), and Hey Fuckface! (1984). After a number of years with Nazraeli Press his usual publisher is now Loosestrife Editions and Steidl Verlag. He has taught at the University of Maryland, College Park, and curated several photographic exhibitions. He lives and works in Washington, D.C.

Alec Soth born in 1969 and based in Minneapolis, Minnesota. He is the recipient of several major fellowships from the McKnight and Jerome Foundations and was awarded the 2003 Santa Fe Prize for Photography. His work is represented in major public and private collections, including the San Francisco Museum of Modern Art, the Museum of Fine Arts Houston and the Walker Art Center in Minneapolis. Soth’s photographs have been featured in numerous solo and group exhibitions, including the 2004 Whitney and São Paulo Biennials, Jeu de Paume (Paris, France) 2008 and Fotomuseum Winterthur (Winterthur, Switzerland) 2008. His first monograph Sleeping by the Mississippi, was published by Steidl in 2004 to critical acclaim. Since then Soth has published Niagara (2006), Fashion Magazine (2007), and Dog Days, Bogota (2007). Soth is represented by Gagosian Gallery in New York, Weinstein Gallery in Minneapolis, and is a member of Magnum Photos.

This is the fourth in AUT’s series of photographic “master-classes” and promises to be as rewarding and exciting as the previous.

As interest is high and places limited to secure a place please contact Neil Cameron Registrar AUT School of Art and Design on email: neil.cameron@aut.ac.nz

Getaway at Lake Mungo NP with Lloyd Godman

When Thur eve – Sun
23 – 26 Oct
Hours N/A
Cost $400 (camping & transport not inc.)

A digital landscape photography workshop for 3 days at magical Mungo with Lloyd Godman and Silvi Glattauer. Incorporates moonlight photography, light painting, in-depth critiques and photoshop sessions. Rather than a quest for the classic landscape image explore strategies for identifying and developing a personal photographic vision, style or iconography. Bring your own camping gear and join the fun!

The workshop program involves camping at Lake Hatta and Lake Mungo NP. 3 days.

For more information, please ring Lloyd Godman on Ph (australia) 97101350