Friday, March 28, 2008

Apple Releases Aperture 2.1


CUPERTINO, California—March 28, 2008— Apple® today released Aperture™ 2.1, which introduces an open plug-in architecture that makes it easy for photographers to use specialized third party imaging software right from within Aperture. Available today as a free software update, Aperture 2.1 includes the Apple-developed plug-in, Dodge & Burn, which adds brush-based tools for dodge (lighten), burn (darken), contrast, saturation, sharpen and blur. Over the coming months, third party software developers will deliver image editing plug-ins for localized editing, filters and effects, noise analysis and reduction, fisheye lens correction and more.

“The image quality in Aperture 2 has won over the most demanding photographers,” said Rob Schoeben, Apple’s vice president of Applications Product Marketing. “Now, thanks to our open plug-in architecture, users can access an entire industry’s worth of imaging expertise without ever leaving Aperture.”


Monday, March 24, 2008

Robert Frank’s Unsentimental Journey

by CHARLIE LeDUFF @ Vanity Fair

Published in 1958, Robert Frank’s photographic manifesto, The Americans, torched the national myth, bringing him such comrades as Jack Kerouac, Allen Ginsberg, and—for a controversial documentary—the Rolling Stones. On a trip to China, the 83-year-old rebel of postwar film still defies expectations.

Robert Frank, the photographic master, the last human being it’s been said to discover anything new behind a viewfinder, collapsed in a filthy Chinese soup shop and no one had thought to bring along a camera.

He looked like something from a Kandinsky painting—slumped between a wall and stool—sea green, limp, limbs akimbo. It would have made a good, unsentimental picture: a dead man and a bowl of soup. Frank would have liked it. The lighting was right.


Wednesday, March 19, 2008

Monday, March 17, 2008

Coin. Smile. Click!


ON a recent sunny but frigid morning, I strolled up Broadway through Times Square with Näkki Goranin, a visitor from Vermont making a pilgrimage through the swirling crowds and the sensory overload of all the signage. We stopped on the west side of Broadway between 51st and 52nd Streets. It looked nondescript to me, with the usual fast food, souvenir shop, gym and drugstore.

But Ms. Goranin, a photographer whose book “American Photobooth” (W. W. Norton) has just been published, declared it “a landmark in photo history.” Because, she said, in 1926, roughly where the gym is now, a Jewish inventor from Siberia named Anatol Josepho (shortened from Josephewitz) opened a photo-booth concession, the first Photomaton in the world.


Monday, March 10, 2008

The Indecisive Image

A detail from Marco Breuer’s Untitled (C-498), 2004, made with scratched chromogenic paper.

by Eric Bryant @ ArtNews

In Marco Breuer’s recent photographs, black specks dance across a white surface, leaving faint trails that mark the passage of time. Sensuous blocks of yellow glow like crystals lit from within, and drippy parallel lines that seem to sit on top of the paper call to mind Action Painting. Made without camera or film, these lush, textured works, collected in Breuer’s 2007 book Early Recordings, defy our basic notions of what photography can be. Breuer achieves his effects by burning photographic papers, scraping their emulsions, and experimenting with chemical formulas that were popular in the 19th century.
Breuer is one of a wave of photographers now gaining recognition for work that abandons recognizable subject matter. “Abstraction goes back to the very beginnings of photography and has come back in different revivals,” says Roxana Marcoci, photography curator at the Museum of Modern Art in New York. “There were the New Vision people in the 1920s and another group in the 1960s, and it is here again right now.”


Wednesday, March 05, 2008

Take Your Pic

by R.C. Baker @ Village Voice

Someone had a blast putting together this show of photographs taken between 1945 and 1960. First off, many of these 55 pictures are simply great images. An untitled shot from Robert Frank's "The Americans" captures one man closing huge double doors on another man; the rough grain in this 1956 photo hones the feeling that something shabby has transpired in this high-ceilinged space of wall sconces and heavy molding. The geometric composition of cobblestones and a pedestrian crosswalk in Toni Schneiders's 1952 view of a sedan speeding past two American soldiers in Frankfurt, Germany, conveys the sense of a victor's imposed order beginning to wane, as the natives start hustling again. But the juxtapositions are what really get the juices flowing:


Post War Perspectives @ Laurence Miller Gallery, NYC
Lawrence Miller Gallery