mercoledì 22 dicembre 2010

Mokum 02b 2010

Mokum 02b 2010
Inserito originariamente da Michele Gavazza
Holga medio formato - Amsterdam 2010

The Holga camera was designed by T. M. Lee in 1981, and first appeared outside China in 1982 with its appearance in Hong Kong.[4] At the time, 120 rollfilm in black-and-white was the most widely available film in mainland China. The Holga was intended to provide an inexpensive mass-market camera for working-class Chinese in order to record family portraits and events.[5] However, the rapid adoption of the 35mm film format due to new foreign camera and film imports virtually eliminated the consumer market for 120 rollfilm in China.[6] Seeking new markets, the manufacturer sought to distribute the Holga outside mainland China.
Within a few years after the Holga's introduction to foreign markets, some photographers began using the Holga for its surrealistic, impressionistic scenes for landscape, still life, portrait, and especially, street photography. These owners prized the Holga for its lack of precision, light leaks, and inexpensive qualities, which forced the photographer to concentrate on innovation and creative vision in place of increasingly expensive camera technology.[7] In this respect, the Holga became the successor to the Diana and other toy cameras previously used in such work. A Holga photograph by David Burnett of former vice-president Al Gore during a campaign appearance earned a top prize in a 2001 White House News Photographers' Association Eyes of History award ceremony.[3]
Recently the Holga has experienced renewed consumer interest outside China due to the increasing popularity of toy cameras, and a continuing counterculture response to the increasing complexity of modern cameras.[8]

lunedì 20 dicembre 2010

Mokum 01b 2010

Mokum 01b 2010
Inserito originariamente da Michele Gavazza
A city that I love photographed with a Holga, the most unpredictable film camera in the world.

Una città che adoro fotografata con una Holga la fotocamera a pellicola più imprevedibile del mondo.

Una grande fotografa italiana...

11/09 Barètto

11/09 Barètto
Inserito originariamente da Michele Gavazza
Cross processing (sometimes abbreviated to Xpro) is the procedure of deliberately processing photographic film in a chemical solution intended for a different type of film. The effect was discovered independently by many different photographers often by mistake in the days of C-22 and E-4. The process is seen most often in fashion advertising and band photography, and in more recent years has become associated with the Lo-fi photography movement.[citation needed]

Cross processing usually involves one of the two following methods:[citation needed]

* Processing positive color reversal film in C-41 chemicals, resulting in a negative image on a colorless base
* Processing negative color print film in E-6 chemicals, resulting in a positive image but with the orange base of a normally processed color negative
Traditionally, cross processing color slide film in C-41 process chemicals is most common. Some commercial-level photography/darkroom merchants will perform this developing process. However, cross processing can take place in many other forms, such as negative color print film and/or positive color reversal film in a black and white developer.

Other interesting effects can be obtained by bleaching color films processed in black and white chemistry using an hydrochloric acid dichromate mixture or using potassium triiodide (KI3) solution. If these bleached films are then re-exposed to light and re-processed in their intended color chemistry, subtle, relatively low contrast, pastel effects are obtained[citation needed].

Color cross processed photographs are often characterized by unnatural colors and high contrast. The results of cross processing differ from case to case, as the results are determined by many factors such as the make and type of the film used, the amount of light exposed onto the film and the chemical used to develop the film.

Cross processing effects can be simulated in digital photography by a number of techniques involving the manipulation of contrast/brightness, hue/saturation and curves in image editors such as Adobe Photoshop or GIMP; however, they lack the unpredictable nature of regular cross processed images. Some programs, such as online photo editor Picnik even have a cross process function.

lunedì 8 novembre 2010

Along the Wall. Berlin 2009

Giovedì 4 novembre 2010 alle ore 18.30 presso la Fondazione Mudima di via Tadino 26 a Milano s’inaugura la personale di Alessandro Vicario ALONG THE WALL. BERLIN 2009, curata da Giovanni Pelloso e Roberta Valtorta. Saranno presenti l’autore e i curatori. La mostra, patrocinata dal Presidente del Parlamento Europeo Jerzy Buzek e dal Borgomastro di Berlino Klaus Wowereit, rimarrà aperta al pubblico da venerdì 5 a sabato 20 novembr...e 2010 con i seguenti orari: da lunedì a sabato ore 15.00 - 19.30, ingresso libero. In mostra cinquantasette fotografie (stampe giclée su carta baritata “Ilford galerie gold fibre silk”). Catalogo edito da Silvana Editoriale. Testi di Giovanni Pelloso e Roberta Valtorta.
Along the Wall. Berlin 2009 è un progetto che Alessandro Vicario ha realizzato nel 2009, anno del ventennale della caduta del Muro di Berlino, e che ora, nell’anno in cui ricorre il Ventesimo Anniversario della Riunificazione tedesca, viene presentato per la prima volta al pubblico.
L’autore concentra l’attenzione sulle persone che transitano davanti ai tratti del Muro di Berlino ancora rimasti. Le immagini sono giocate sul contrasto tra la figura umana, evanescente e dinamica, colta nel movimento davanti alla macchina fotografica, e la porzione di Muro sullo sfondo, sempre nitido e ben visibile.
“Il mosso di Vicario – osserva Roberta Valtorta nel testo critico pubblicato in catalogo - è un mosso di tipo esistenziale, psicologico, anche sociologico. Esprime un tremore, un’instabilità, indica il tentativo dell’uomo contemporaneo di entrare in contatto con il mondo nel quale vive, di capire se siano i luoghi a cambiare più velocemente, o la sua vita.”
L’allestimento comprende anche una videoinstallazione, intitolata Raw sequence, che esalta la natura seriale del progetto. A velocità molto elevata e accompagnati dal ritmo ossessivo e quasi ipnotico della musica techno del berlinese Paul Kalkbrenner scorrono – montate in loop – tutte le fotografie scattate dall’Autore.

Fondazione Mudima
Via Tadino 26 - Milano
tel: +39 02 29409633
fax: +39 02 29401455

On Thursday, November 4th, 2010 at 6.30 PM, the Mudima Foundation in via Tadino 26, Milan opens Alessandro Vicario’s solo exhibition ALONG THE WALL. BERLIN 2009, curated by Giovanni Pelloso and Roberta Valtorta. The artist and both curators will be present at the opening. The exhibition, held under the patronage of the European Parliament President Jerzy Buzek and of the Berlin Mayor Klaus Wowereit, will be open to the public from Friday, November 5th to Saturday, November 20th at the following opening hours: Monday to Saturday from 3 PM to 7.30 PM, free entrance. The exhibition consists of 57 photographs (giclée prints on baryta paper “Ilford galerie gold
fibre silk”). Catalogue published by Silvana Editoriale: 24 x 24 cm, 96 pages. Italian and English. Texts by Giovanni Pelloso and Roberta Valtorta.
Along the Wall. Berlin 2009 is a project Alessandro Vicario completed in 2009, twenty years after the fall of the Berlin Wall, and is now presented to the public for the first time on the occasion of the twentieth anniversary of German reunification.
The artist focuses his attention on people passing by the remaining parts of the Berlin Wall. The images play with the contrast between the human shape, evanescent and dynamic, caught in its movement before the camera, and the sections of Wall in the background, always sharp and well visible. “Vicario’s blurred
images – notes Roberta Valtorta in her critical presentation published in the catalogue - have an existential, psychological, even sociological value. They express a tremor, an instability; they show the attempt of the contemporary human being to get in contact with the world he lives in, to understand what changes faster: the places around him or his own life.”
The setting also includes a video installation entitled Raw sequence, underlining the serial character of the project. All photographs shot by the artist are shown here in a fast loop, accompanied by the obsessive, almost hypnotic techno rhythm of Berlin composer Paul Kalkbrenner.
Una mostra molto interessante, sopratutto l'accostamento tra le fotografie e i suoni freddi della musica tecno che esaltano lo scorrere del tempo.