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Take Your Best Shot of the Golden Gate Bridge for Our Epic Photo Contest

Take Your Best Shot of the Golden Gate Bridge for Our Epic Photo Contest

In celebration of the Golden Gate Bridge's 75th anniversary, we want to see the ways you love the symbol of our city.

Read More . . .



City Arts and Lectures



Lytro Light Field Camera

Review based on a production 16GB Lytro Light Field Camera

There was a lot of excitement when the New York Times wrote about a small company promising to make focus errors a thing of the past. A camera that allowed you to focus after you take the picture. Its subject was Lytro, a startup promising to make its technology available in a consumer product on the market within a year. And, sure enough, here is the Lytro Light Field Camera.

Over the intervening months, we've talked to Lytro's Founder and CEO, Ren Ng, and attended a photo walk with the company's 'Light Field Camera' but it's only now, with the product about to hit stores, that we've had a chance to spend enough time shooting with it to really get to grips with what it can do.

Just to recap, the Light Field Camera (LFC) doesn't capture 'pictures' in the way your current camera does - it's capturing information about where the light is travelling. This information can then be turned into a picture or, more to the point, a series of pictures with different focus points.

-------- Lytro Camera Review and Related:

February 29, 2012, 5:00 PM A Review of the Lytro Camera By SAM GROBART

February 29, 2012, 5:59 PM Thoughts About the Lytro and Photojournalism By SAM GROBART

Quirky Photos of a Costumed Baby Trying Out Different Professions

by .

Here’s an adorable baby dressed as a butcher, a ballerina, and a Mexican wrestler, because you never really know. Que Sera, Sera, indeed. Paris-based photographer Malo costumes a little one in grown-up garb for the series Un jour, mon enfant tu seras or One Day You Will Be My Child , spotted by My Modern Met, with amazing results; albeit, it’s a bit of a minefield. Maybe the sensitive parents will be offended by the prop blood splattered on the wee one’s butcher smock? Perhaps some might cry sacrilege at the baby Pope Hat? We admit that seeing a little baby dressed up as a soldier is unsettling. Yet, this is a great little project, gender-neutrality, kitsch, light controversy and all. Enjoy!


The 2012 PDN's 30 Gallery

MARCH 01, 2012

We chose to profile these 30 “photographers to watch” based largely on the photographs they submitted to us way back in October 2011. As we learn each year, though, the striking, intriguing and delightful images these women and men produce are the end product of a ton of effort. 

It may seem vulgar to some to talk about business while celebrating creative work, but it’s useful to consider that each of these photographers is also an entrepreneur. And as entrepreneurs do, they produce their work by taking substantial risks—personal, financial, creative and otherwise. Chloe Dewe Mathews hitchhiked from China to England in search of ideas. Markel Redondo traveled with migrant workers from Honduras to the U.S. Peter DiCampo worked by flashlight for three years in Ghana and elsewhere. Ryan Pfluger and AnaStasia Rudenko challenged themselves to photograph difficult family relationships. Peter Ash Lee published a magazine. Mark Fisher regularly hangs out of a helicopter.

In addition to taking risks, these photographer-entrepreneurs find the funding they need to act on ideas. They are disciplined in their approaches. They create markets for their work through persistence, rather than letting the market dictate what they do. They seek out advice, take criticism on-board, and learn all they can from teachers, mentors and peers, with whom they collaborate openly. They value their relationships with their clients, and they are a delight to work with.

While you look at, take in and enjoy the photography in the following pages and read about these intrepid entrepreneurs, keep in mind what it takes to open a successful small business in today’s economy. As Mustafah Abdulaziz notes: “Talent only gets you so far.”

—Conor Risch

To read the PDN's 30 profiles and see examples of their work, click on the gallery link below.

PDN's 30 2012

PDN thanks Sony, Adobe and Canson for their support of the PDN's 30 issue and educational programs. American Society of Media Photographers has given a one-year merit membership to each of this year’s 30. The editors would also like to thank all the people who nominated photographers for the 2012 PDN's 30.

PDN: Shepard Fairey Pleads Guilty to Criminal Charges in AP Copyright Case

FEBRUARY 24, 2012

by David Walker

Artist Shepard Fairey has plead guilty to a federal criminal charge for destroying documents, falsifying evidence "and other misconduct" in his civil litigation with Associated Press two years ago, the US District Attorney in Manhattan has announced.

"Shepard Fairey went to extreme lengths to obtain an unfair and illegal advantage in his civil litigation [against AP], creating fake documents and destroying others in an effort to subvert the civil discovery process," US Attorney Preet Bharara said in a written statement.

Sentencing is scheduled for July 16. He faces a maximum of six months in prison, and fines up to $5,000. 

AP claimed copyright infringement against Fairy in 2009 because the artist used an AP image of Barack Obama without permission to create the iconic "Hope" poster in support of Obama's presidential campaign four years ago. The image was shot by Mannie Garcia.

In an effort to preempt AP's claim against him, Fairey had sought a declaration from a federal court that the Hope poster was fair use. In seeking that declaration, Fairey gave "factually untrue" information about the image he had used. (He said he had used one AP image of Obama, showing him with actor George Clooney, as a reference, when he had in fact used another tightly cropped AP image of Obama from the same event.)

Fairey admitted in 2010 that he had made a mistake about which image he had used, and said he had tried to cover up the mistake. But his fair use defense was arguably stronger with the image he originally claimed to have used.

The criminal investigation began after his false claim came to light. 

The US Attorney said that Fairey created "multiple false and fraudulent documents" to cover up the fact that he had provided false information about the image he had used. "Fairey also attempted to delete multiple electronically stored documents that demonstrated that he had, in fact, used the tightly cropped image" as a reference. 

According to the US Attorney, Fairey presented the "false and fraudulent documents" to AP during the discovery process in the civil litigation, while concealing his destruction of fake documents and manufacture of false documents. He also tried to get one of his employees to help mislead investigators about why and when he deleted documents, and he coached a witness in the civil case to lie about what Fairey had done, the US Attorney says.

AP, which settled its copyright claims amicably with Fairey last year, issued a muted statement from President and CEO Tom Curley. “The AP hopes that some good may come of this, by alerting judges and parties to the possibility that spoliation may exist,” Curley said.

Spoliation is the destruction of documents for illegal gain. 

Striking 'Faces of Addiction' Found in the Bronx

Every weekend, Chris Arnade leaves Brooklyn Heights and heads to Hunts Point in the Bronx, searching for subjects of his ongoing Faces of Addiction photo essay."I post people's stories as they tell them to me," he writes. "I am not a journalist. I don't try to verify, just listen." They talk. These New Yorkers are living in shelters, abandoned buildings, crack houses, and vacant lots, and are suffering through addiction and recovery, together. Many of them are victims of abusive households, former runaways who grew up on the street, forced into the most dangerous sort of sex work, assaulted, raped, and stabbed. They are blunt about their lives; they grateful of what they do have. The essay is both heartbreaking and hopeful. There's a tentative intimacy to them, a reserved dignity. Read more »


Cindy Sherman Unmasked


Published: February 16, 2012

CINDY SHERMAN was looking for inspiration at the Spence Chapin Thrift Shop on the Upper East Side last month when she eyed a satin wedding dress. An elaborate confection, it had hand-sewn seed pearls forming flowers cascading down the front and dozens of tiny satin-covered buttons in the back from which the train gently hung like a Victorian bustle.

Cindy Sherman

The photographer Cindy Sherman in a rare pose as herself. More Photos »

“It’s Arnold Scaasi,” the saleswoman said, as Ms. Sherman made a beeline for the dress. Unzipping the back the clerk showed off a row of labels, one with the year it was made — 1992 — and another with the name of the bride-to-be. “It has never been worn,” she added. As the story goes, when the gown was finished, the bride decided she didn’t like it.

Ms. Sherman appeared skeptical. Is this really what happened, or is the story just the cover for a jilted bride? One begged to know more.

That tantalizing sense of mystery and uneasiness are similar emotions viewers feel when they see one of Ms. Sherman’s elliptical photographs. Over the course of her remarkable 35-year career she has transformed herself into hundreds of different personas: the movie star, the valley girl, the angry housewife, the frustrated socialite, the Renaissance courtesan, the menacing clown, even the Roman god Bacchus. Some are closely cropped images; in others she is set against a backdrop that, as Ms. Sherman describes it, “are clues that tell a story.”

“None of the characters are me,” she explained, sipping a soda at a cafe near the shop that afternoon. “They’re everything but me. If it seems too close to me, it’s rejected.”

On this unseasonably warm afternoon Ms. Sherman, 58, had bicycled from her apartment in Lower Manhattan to discuss her landmark retrospective at the Museum of Modern Art, which opens Feb. 26 and includes more than 170 photographs. Wearing no makeup, with leggings and sneakers and a tweed hat that carefully concealed her crash helmet, she looked totally inconspicuous, hardly the celebrated artist whose fans include Lady Gaga; Elton John, who collects her work; and Madonna, who sponsored a show of Ms. Sherman’s “Untitled Film Stills,” at the Museum of Modern Art in 1997.

Petite, with strawberry-blonde hair that falls to her shoulders, she is nothing like the larger-than-life characters she portrays in her self-portraits. Soft-spoken and friendly, she is very much a girl’s girl who can as easily giggle about men, movies and makeup as she can discuss literature and art.

This article has been revised to reflect the following correction:

Correction: February 16, 2012

An earlier version of this article misstated the height of images of the artist Cindy Sherman that are installed at the Museum of Modern Art as part of a new retrospective of her work. They are 18 feet tall, not eight.













Book Review: Edward Weston, One Hundred Twenty Five Photographs

Published on Monday, February 13, 2012 8:00:17 PM GMT

Edward Weston was one of America's most celebrated photographers. Published to mark the 125th anniversary of his birth, Edward Weston: One Hundred Twenty Five Photographs showcases his work through both photographs and excerpts from his journals and letters. Adam Koplan takes a look at this lavish limited-edition collection.

Read full story


Facebook Lightbox vs Google+: which better presents your images?

Published on Friday, February 10, 2012 10:59:35 PM GMT

Facebook is making its first steps towards taking photography seriously with the launch of its Lightbox display interface. The change, which is being rolled-out to users in the coming weeks, darkens the rest of the screen when a photo is selected and shows images in greater detail than before (up to 960 pixels in each dimension). How does this presentation compare to the more obviously photo-friendly Google+ service?

Read full story

Article: Depth of Field in Macro Photography

Published on Wednesday, February 15, 2012 7:50:26 PM GMT

Controlling depth of field is of great importance when photographing subjects at a close distance. Nature photographer Erez Marom continues his series on macro photography with a discussion of the challenges this presents when shooting at extreme magnifications. He examines problems common to both beginners and experienced macro photographers and shares two approaches that allow you to overcome shallow depth of field.

Read full story


Lensbaby introduces Edge 80 telephoto optic

Published on Tuesday, February 14, 2012 2:00:41 PM GMT

Lensbaby has announced an addition to its unique range of selective-focus lenses, in the shape of the Edge 80. It's an 80mm F2.8 short telephoto that, unlike the company's existing products, is conventionally optically-corrected, and designed to be used as a tilt lens to produce 'slices' of sharp focus across the frame. It has a 12-blade circular aperture diaphragm for attractive out-of-focus blur, and a built-in extension tube for close focusing down to about 19". It's available to order now from the company's website for $300.

Read full story



Put on a Pop-Up Show

Photographers are turning unexpected spaces into galleries for short-term exhibits, and in the process finding new audiences, and new ways to view photography.

In Cariou v. Prince, an Appeal to Clarify the Boundaries of Fair Use

The crux of the Cariou v. Prince copyright case is whether it is enough for infringing works to have a distinct meaning from the original works in order to be fair use—or whether they must also comment on or criticize the original work. See the Photo Gallery to compare Cariou's photos and Prince's paintings.

3 Photographers Who Built Their Own Cameras

Photographers Adam Magyar, Chris McCaw and John Chiara explain how they achieved their visions using DIY, custom-built cameras as unique as their art.


2012 Our World Portfolio Review

due Friday February 17th


 • more info click here


• registration form click here


 Submit your work or send the card along to someone that should!




Elijah Gowin with Mercedes Dorame



more info



Photo Manipulation Scandal Follows Same Old Script

A photographer at the Sacramento Bee has been fired for manipulating a photo. The newspaper apologized; one pundit has said it's no big deal. Comments from PDN readers fell into opposing camps.

DIY Camera: John Chiara’s Giant Camera Obscura

The landscape photographer talks about how and why he built a 50 x 80 camera.

PDN Photo Annual 2012: Deadline 2/17/12

Winners of the PDN Photo Annual are eligible for $15,000 in prizes, awards and fellowships. You've already entered your best images, videos or favorite multimedia work from the past year, haven't you? Please don't wait to upload until the night before deadline. We hope you will remember the jury of photo editors, ad agency creatives, a collector, a book designer, photo reps who need to get started on the selection process soon.




Article: An introduction to OLED displays

Published on Monday, February 06, 2012 3:13:48 PM GMT

Until recently, LCD was the only technology used for digital camera displays. This is beginning to changes with the emergence of Organic Light Emitting Diode (OLED) technogy. OLED offers a series of advantages over LCDs, particularly for photographers. Whether it's the display panels on the back of the Olympus PEN E-P3 or the microdisplays used as electronic viewfinders in Sony's SLT-A77, OLED is starting to make an impact on the camera market. Ron Mertens, editor-in-chief of OLED-Info, explains some of the advantages and disadvantages of this type of display, and gives an insight into some of the latest developments in this emerging field.

Read full story

HDR used properly is appropriate for photojournalism, says Unified Color's Omvik

Published on Friday, February 03, 2012 8:26:53 PM GMT

Are High Dynamic Range photos appropriate for illustrating news? That's the debate that's been started by the Washington Post's use of an HDR image on its front page in January. Sean Elliot, president of the National Press Photographers Association came down firmly against it, saying, 'HDR is not appropriate for documentary photojournalism.' John Omvik, Marketing VP with HDR software maker Unified Color understandably disagrees. He's written us a response arguing that what we see is closer to HDR than, say, a mono photo shot with Tri-X film.

Read full story

Kodak to stop making digital cameras

Published on Thursday, February 09, 2012 7:17:59 PM GMT

Kodak will stop making digital cameras within the next few months. The company, currently in bankruptcy protection, will also stop making pocket video cameras and photo frames as a cost-cutting measure. Instead it is looking to license its name to other manufacturers who wish to sell cameras under the Kodak brand. Closing the business will cost around $30m, mainly in the cost of laying-off workers, but will save around $100m per year in running costs. All product warranties will be honored.

Read full story


Just Out – Nikon D800 & D800E

Thank you for spreading the word about BH inDepth.
By Allan Weitz
Published Tue, 2012-02-07 00:01

When Nikon introduced the D700, in July 2008, many Nikon aficionados were thrilled to be able to purchase a full-frame Nikon DSLR for about half the price of Nikon’s heftier and pricier D3-series cameras. That said, it looks like Nikon is about to make a lot of people even happier this time around.

The new Nikon D800 is downright impressive across the board, starting with its 36.3-megapixel FX-format CMOS sensor. Thanks to improvements in sensor technologies, the new sensor features large 4.88μm pixels, which in concert with the D800’s EXPEED 3 imaging processor, allows the sensor to capture full-bodied image files with plenty of detail in the shadows, highlights and every tone in between.




How to Be Part of a Global Food Photo Exhibit (Help End Hunger, Too)

You’re ravenous. A most delectable grilled cheese sits before you, melty sides catching your eye.

It’s too beautiful to eat without photographing first!

On February 24th at 12pm EST, you’ll discover you’re not the only one. It’s a global day of photographing your food!

The Meal is calling all foodie photographers to participate in a global food photo exhibit. Your simultaneously shot photos will be collected and shown at The Brooklyn Art Library on March 31st.

It’s for a good cause, too! The Meal has partnered with Action Against Hunger, a non-profit who battles hunger around the world.

It all comes full-circle: your hunger-induced photo helps end hunger for others. Not even scarfing down a grilled cheese sandwich could beat that satisfaction.

The Meal: Documenting a Global Snack

Heads up! If you do submit, that means they can use your photo for promotional reasons. However, they’ll never sell your photo for profit. Read the deets on the Project Agreement!




Los Angeles Center for Digital Art

102 West Fifth Street

Los Angeles, CA 90013



"L. A. N D S C A P E S II "

February 9-24, 2012
Reception February 9, 7-9pm
In conjunction with Downtown Art Walk

Fred Kaplan
Douglas Hill
Merrilee Adler
Campbell Laird
Melinda Smith
Gillian Ware
Pete Jackson
Andrew Lee
Jeff Alu
Bridgitte Klappert
Jon Deshler
Wanda Boudreaux
Leslie Rosenthal
Burton Rein
Randall Bass
Brian Burchfield
David Hudson
Kathryn Jacobi

Randall Bass


It could be said, by virtue of the movie industry and the enormity of all other creative output in the city, that Los Angeles is the most photographed urban area in the world. That is not to say that it is some Beaux-Arts fantasy of beauty like Paris, or has any of the romantic history of most cities Western and Eastern alike making for anything one could call picturesque or photogenic. Conversely, L.A. is the town of all things fabricated, manufactured and transported. It is also a mecca for 'un-creative' business, especially the small businesses specific to the many cultures of various origin that have established the population of the expansive metropolis.

Most of this landscape is on wheels and is also occupied by the homeless, drug-addicted, criminal and otherwise abject margins of humanity. In contrast we find miles-long beaches full of steroid enhanced muscle and silicon inflated boobs, or verdant estates peppered with flashy mega-mansions of the mega-rich and mega-famous. This cultural cacophony and near total lack of genuine 'pretty' combined with a preponderance of vernacular architecture overflowing with Disneyesque movie-land cliche gives the region an abundance of subject matter that has fascinated photographers for a very long time.

From a blurry tuft of grass belonging to a suburban lawn to vast imposing panoramas of the entire basin, a movie shoot, winding freeways full of traffic, the faux Spanish baroque towers of downtown, or the classic silhouette of a row of palms—as a subject the Los Angeles region is an extremely rich treasure trove which has been exploited with an endless variety of approaches by generations of image makers. "L.A.NDSCAPES" is a large exhibit that explores this territory with the gusto to be expected from this group of highly innovative and technically adroit artist/photographers. It is by virtue of the efforts of visionaries such as these that a city that seems to have little to 'hang your hat on' in terms of identity, takes on an unmistakable character that is loved by its inhabitants and visitors alike, faults and all.


David Alexander Hudson



Melenda Smith



© 2012 Los Angeles Center For Digital Art   
All International Rights Reserved.

Works of individual artists remain the intellectual property and are copyrighted by their respective authors.

No unauthorized reproduction, all rights reserved.


Nighttime Photography Class

Take advantage of the long winter nights to hone your photography skills! We will photograph some of the city's best sites at night, including buildings, streetlights and starscapes, and discuss techniques for shooting in limited light. We'll also cover exposure bracketing and the use of a tripod.

Read more about this event

When: 02/03/2012 06:00 PM
Cost: $



Congratulations to IRINA ROZOVSKY, 4th Quarter Winner »


"My ongoing series In Plain Air is photographed from deep within the park, where signs of the city and its thankless daily grind are farthest out of sight. These photographs look at an urban oasis that invites its visitors to a profound, however brief, commune with nature and a momentary release from the demands of contemporary life that’s teeming at the gates. I am drawn to private moments of transcendence and escape within the context of a shared public space. This is an imperfect nature, tattered from overuse, and yet it is a landscape activated by collective reverie and desire." - Irina Rozovsky

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SF Camerawork Has Moved! 


SF Camerawork's new home is on the second floor of 1011 Market Street, near 6th Street and next door to The Luggage Store Gallery. Jensen Architects, San Francisco's premier architecture firm, designed the space. 
We invite you to visit us during our new public hours: 3 to 8 pm Tuesday through Friday, and 12 to 5 pm on Saturdays. We are also open by appointment.


Stay tuned for announcements regarding our 2012 events calendar, coming soon!


SF Camerawork

Ongoing Exhibition: Through Saturday, February 25, 2012

Allan deSouza: The World Series 


Allan deSouza's The World Series (2011) was inspired by Jacob Lawrence's iconic The Migration Series (1941), which portrays the twentieth-century Black migration from the American South to Northern cities. 


Support for this exhibition has been provided by: the National Endowment for the Arts, a federal agency; the Andy Warhol Foundation for the Visual Arts; the San Francisco Arts Commission; and Grants for the Arts/San Francisco Hotel Tax Fund.


Press Contact:  Eric Stanley  707-579-1500 x 15


Kashaya Portraits: Historic and Contemporary

Exhibition dates February 26-May 27, 2012

Public Opening Reception-Saturday, February 25, 5-7pm


Santa Rosa, CA. The Sonoma County Museum is opening a new exhibition, Kashaya Portraits: Historic and Contemporary highlights the cultural heritage and generational continuity of the Kashaya Pomo people through past and recent photographs.  


In the early 1960s, photographer William Heick, working on the American Indian Film Project for the Anthropology Department at the University of California, Berkeley, visited the Stewart's Point Rancheria. He recorded images of the Kashaya Pomo, including iconic photographs of revered spiritual leader, Essie Parrish. Parrish, the last local Kashaya spiritual leader, passed away in 1979, but her daughters and close family members have carried on the Kashaya language and traditions in a secluded corner of northern Sonoma County.  


Fifty years after his father, William Heick, Jr. has photographed the Kashaya, portraying a living, contemporary culture, as well as the remarkable legacy that is passed from generation to generation. The exhibition will feature the photographs of William Heick, Jr. and selected photographs by his father.


Kashaya Portraits is part of the Museum's commemoration of the 200th anniversary of Fort Ross. The Kashaya were the first people known to have lived in the area that is now Fort Ross State Historic Park.



Native American culture is the focus of the Museum's Family Day on Saturday, February 4, with activities, demonstrations, and hands-on crafts. Family Day runs 11:00 am-2:00 pm. Free admission for children 12 and under, and free for members of the museum. Regular admission applies for all others.


Sonoma County Museum is located at 425 Seventh Street in Santa Rosa, California. Museum hours are 11 am to 5 pm, Tuesday through Sunday. Regular admission, effective January 1, 2012, is $7 for adults, $5 for children and seniors. Children 12 and under are admitted free. Additional information is available at or by calling (707) 579-1500.



About Sonoma County Museum

Founded in 1985, the Sonoma County Museum is the region's only art and history museum and holds a diverse collection of over 20,000 objects.  Through the preservation of collections and the presentation of exhibitions and programs, the Museum attracts more than 28,000 people annually. As its flagship program, the Museum & Schools Program is ongoing throughout the school calendar year and provides students and teachers with free/subsidized busing and guided tours of exhibitions.


Hours: Tuesday-Sunday, 11am-5pm, Closed Major Holidays


Admission: $7 general, $5 for students & seniors, Free for members


Location: 425 7th Street, Santa Rosa, CA 95401




Kodak Files for Bankruptcy Protection

The once giant film company filed for Chapter 11 bankruptcy protection this morning. If a bankruptcy judge approves, Kodak could continue operations with the help of a Citigroup loan.



Artists Who Don't "Make" Their Own Work

Allegedly David Hockney recently took a dig at Damien Hirst when a poster for his upcoming show at the Royal Academy of Art read "All the works here were made by the artist himself, personally." The Royal Academy of Art has since clarified that the phrase appeared on Hockney's gallery wall, not their poster, and Mr. Hockney was not attacking anyone specifically, ahem ahem. This got us thinking. It's not uncommon for artists to have assistants or employ experienced craftsmen to help with the production of their work. Sometimes, that's the only way to bring their ideas to life. Sometimes, that process is part of the art's conceit. Sometimes, they just want the money without doing much of anything. Here's a brief and wide survey of classical and contemporary artists who conceive, but don't or didn't always "make" their own work. This is not exactly "in defense" of Damien Hirst. It's a bit that, but more of... "in contrast." Just some thoughts to levy the hype and hate currently swirling around the artist. Read more »


Haunting Portraits of Teenage Girls

These photographs catch young teenage girls mid-wink, mid-gum chew, mid-hair twirl, mouths agape, and eyes rolled back — split-second scenes that capture the very essence of entering puberty... It's awkward. Photographing her subjects with bursts of shots in fast succession and plucking out the choice shot, Stockholm-based artist Julia Peirone freezes the girls at their most unguarded. The series More Than Violet plays on the duality between the documentary and staged: She captures them just getting ready to pose, that is, not posed at all. Somewhere between the outward appearance and the inner world, these off-guard portraits are revealing and just a bit jarring. Do they bring you back to middle school? Read more »


10 Essential Civil Rights Movement Photographers

The iconic imagery surrounding the Civil Rights Movement, while problematic for some, is unquestionably powerful, especially for those of us who weren't around to witness this important chapter in American history firsthand. These pictures not only made plain the gross inequality between races in the US; in many cases, they served as the much-needed public awareness catalyst needed to pass vita legislation like the Civil Rights Act of 1964 and the Voting Rights Act of 1965. In honor of Martin Luther King Day, we've rounded up a handful of important photographers from the era, along with some of their most iconic shots. Read more »


Bizarre Photos of Shrink-Wrapped Couples

Japanese artist Photographer Hal has stuffed club kids into bathtubs and other cramped spaces in his work before, but this time he's chosen to shrink-wrap them like living dolls squirming under plastic. With some nude, and some dressed in candy-colored attire, Hal covers his models with a plastic sheeting that he vacuums the air from in order to distort their features and bond them together. It only takes a few seconds for him to snap several images before releasing them, and the results are humorous and somewhat grotesque. Read more »

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PDN Photobook Annual 2012

Don't miss the #1 photo  competition of the year. We're giving away over $15,000 in cash and prizes, enter today!
last year's winners

Industry Awards

  • The $15,000 Arnold Newman Prize for New Directions in Photographic Portraiture.
  • Adobe presents the Breakthrough Photography Award to celebrate artists creating compelling works through digital imaging. An award of $1,000 prize and Adobe® Creative Suite® 5.5 Master Collection will be given to the winner.
  • The Marty Forscher Fellowship Fund cash award to one professional and one student winner.
  • The Sony Emerging Photographer Award to one emerging photographer who will receive a Sony camera and a $1,000 cash prize.
  • Ten winners will receive a Nielsen Photo Group membership which includes; subscriptions to PDN and Rangefi nder magazines, a PDN PhotoPlus Expo Gold Expo Pass, a PhotoServe portfolio and discounts on WPPI and PDN contests.
  • PDN Editor's Choice Award: one winner will receive a full-page self promotion ad in an upcoming issue of PDN.
  • Additional awards and prizes will be announced online.

Enter The Contest

  • Have your work seen by top photo industry judges.
  • Winning images will be published in PDN's June Photo Annual issue which is sent to over 5,000 creatives. Winning images will also be in an extended online gallery featured and archived on
  • An exclusive party will be held in May 2012 celebrating the winners. Judges, select industry creatives and photographers are among the invited guests.
  • Photo Annual 2012 Winner's SealUse your Photo Annual win to promote your photography business. Winners will recieve an official winner's seal.

Click here to view last year's winners.




Entry Fees
Single Entry: $45
Series: $55
Student: $25

January 25th, 2012*

*Late? Pay an additional $10 per entry for an extended deadline of 2/17/12.

Enter The Contest




The Maine Photography WorkshopsMarty Forscher Fellowship Fund

ASMP Arnold Newman Prize

Adorama Sony Parsons The New School For Design



Royal Academy of Arts


David Hockney, "Winter Timber" (detail), 2009.
Oil on fifteen canvases, 274.3 x 609.6 cm overall.


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David Hockney RA: A Bigger Picture      
Sponsored by BNP Paribas                               
Main Galleries                                                             
21 January–9 April 2012               

Royal Academy of Arts
Burlington House, Piccadilly
London W1J OBD

The Royal Academy of Arts presents the first major exhibition in the UK to showcase David Hockney's landscape work. Vivid paintings inspired by the Yorkshire countryside, many exhibited here for the first time, are shown alongside related drawings and digital video. Over 150 works are on display, the majority of which have been created in the last eight years. The exhibition also includes a selection of works dating as far back as 1956, which places the recent work in the context of Hockney's extended exploration of and fascination with landscape. The exhibition takes the visitor on a journey through Hockney's view of the world. 

Initially, the exhibition addresses the various approaches that Hockney has taken towards the depiction of landscape throughout his career. Past works include Rocky Mountains and Tired Indians, 1965 (The National Galleries of Scotland, Edinburgh), Garrowby Hill, 1998 (Museum of Fine Arts, Boston) and A Closer Grand Canyon, 1998 (Louisiana Museum of Modern Art, Humlebaek). Hockney's exploration of the depiction of space is traced from work dating to his time as a student, through his photocollages of the 1980s and the Grand Canyon paintings of the late 1990s, to the recent paintings of East Yorkshire, frequently made en plein air.

The exhibition reveals the artist's emotional engagement with the landscape he knew in his youth, as, in a series of galleries each dedicated to a particular motif, he examines daily variations in light and weather conditions and the cycles of growth and decay as the seasons change. Since undertaking this exhibition in 2007, Hockney's intense observation of his surroundings has become manifested in a variety of media. Highlights include three groups of new work made specifically for this exhibition.

Firstly, a series of paintings inspired by Claude Lorrain's painting The Sermon on the Mount, 1656 (The Frick Collection, New York) in which Hockney explores its unusual treatment of space, culminating in the monumental painting: A Bigger Message, 2010. Secondly, new digital videos featuring motifs familiar from Hockney's paintings are displayed on multiple screens; filmed simultaneously using nine and eighteen cameras, they provide a spellbinding visual experience. Hockney's in-depth engagement with the works of the Old Masters and the historical use of optical aids was made clear in his book Secret Knowledge (2001). Hockney too has always embraced new technologies for the purposes of image making, most recently the iPad.

The exhibition culminates in the largest of the Royal Academy's galleries, with the immersive work The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven). Hockney's glorious homage to nature is dominated by a painting on 32 canvases, surrounded by over fifty large-scale iPad drawings printed on paper, which chronicle the advancing season in breathtaking detail. Hockney has found in landscape the ultimate subject for 'A Bigger Picture'.

David Hockney RA: A Bigger Picture has been organised by the Royal Academy of Arts, London in collaboration with the Guggenheim Museum, Bilbao and the Museum Ludwig, Cologne. The exhibition has been curated by the independent curator Marco Livingstone and Edith Devaney, the Royal Academy of Arts.

Open to public:                                         
Saturday, 21 January–Monday, 9 April 2012
10am–6pm daily (last admission 5.30pm)
Late night opening:                            
Fridays until 10pm (last admission 9.30pm) 

Tickets for David Hockney RA: A Bigger Picture are available daily at the RA. To book tickets in advance please tel: 0844 209 0051 or visit Groups of 10 or more are asked to book in advance; please telephone 020 7300 8027, fax: 020 7300 8084 or email:

To book call 020 7300 8000 and

*Image above:
Private collection. 
© David Hockney. 
Photo: Jonathan Wilkinson



In Memoriam: Jan Groover, Fine-Art Photographer, 68

JANUARY 09, 2012

Jan Groover Photographs
"Untitled, 1978," 20x16-inch chromogenic color print, by Jan Groover.

Jan Groover, whose complex still life tableaux earned her comparisons to Paul Cezanne, died January 1, the Janet Borden Inc. gallery in New York, reports. She was 68. The cause of death was not announced. 

Born in Plainfield, New Jersey in 1943, she studied painting at the Pratt Institute and received her MFA from Ohio University. She began taking photographs in the late Sixties, and abandoned painting in favor of photography in the 1970s, at a time when William Eggleston and other artists were pioneering the use of color photography.  After shooting 35mm street photos in New York, Groover began exploring still-life photography. She would assemble humble kitchen utensils, food and household objects and, using a 4x5 camera, transform them into an array of patterns, shapes and colors. Curator and critic Susan Kismaric said of Groover’s still lifes, “Houseplants, knives, forks, and spoons appear larger than life. Our common understanding of the meaning of these pedestrian objects is transformed to a perception of them as exotic and mysterious.” Writing in The New York Times, critic Andy Grundberg noted that a gallery show of  Groover’s still lifes caused “a sensation” in 1978. “When one appeared on the cover ofArtforum magazine, it was a signal that photography had arrived in the art world - complete with a marketplace to support it."

Her experimentation continued, as she moved to shooting black and white and producing platinum palladium prints. Her work was included in the Whitney Biennial in 1981. Groover had a solo show at the Museum of Modern Art in New York in 1987, the year photographer Tina Barney produced a documentary about Groover titled “Tilting at Space.” She taught at the State University of New York at Purchase for many years until the early Nineties, when she and her husband, artist and writer Bruce Boice, moved to Montpon-Menesterol, France. 

Her books include Jan Groover, published in 1976, and the 1983 Jan Groover: Photographs, with an introduction by John Szarkowski, curator of photography at the Museum of Modern Art.  Her work was exhibited at George Eastman House, the International Center of Photography, the Cleveland Museum of Art and other museums around the world. She received the John Simon Guggenheim Memorial Fellowship and a grant from the National Endowment for the Arts. 

She is survived by her husband, Bruce Boice.



Captivating Photos of a Teen Gang in '50s Brooklyn

These boys look like trouble. You can tell by the way they grease back their hair, toke their smokes and snap their fingers. Legendary New York photographer Bruce Davidson documented a gang of "troubled teenagers coming of age" in 1959 Brooklyn, capturing the young almost-underbelly of a conservative, "innocent" society. They called themselves the Jokers. See them look tough, get tattoos, get into fights, dance to records, nuzzle with their gal pals and loiter cinematically. Indulge yourself with this look back in time, with a tinge of glamorous masculinity and teenage angst. Read more »


January's Photo Contest

Submit Your Entry

Our January Photography Contest is Seeing the Everyday in a New Way. Photograph an object you see or use every day, in a creative or unique way. For example, look at Irving Penn's "Pepper." Please limit your submissions to two photos.

The images will be judged by Tony Corbell of Nik Software. Since 1979 he has moved through an almost inspired life that has included traveling and lecturing in more than twenty countries, has photographed three U.S. presidents, 185 world leaders at the United Nations, sports celebrities, almost 800 brides and grooms, and several NASA astronauts. The winning submission will receive the Nik Software Complete Collection Academic. Follow Nik Software here.

The deadline for submissions is January 24, 2012. Any submissions may be disqualified at the discretion of the judges, for any reason.

Last Month's B&H EDU Advantage Winner

The winner of December's Extreme "Winter" Sports Photo Contest is Taylor McIntosh from Maine Media Workshops. Click here to view

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English version

Les Rencontres d'Arles

Non conforme / Uncertified

9 January 2012 7:00 pm


Centre Pompidou
Grande Salle
Level 1
Admission free subject to seating availability

For all those people who loved JR at the Théâtre Antique in Arles at the 2011 Rencontres, and even more so for those who missed him, here's a fresh chance to discover his work, plus a live interview.
Tel.04 90 96 76 06


Interview with François Hébel,
director of the Rencontres d'Arles


This event is organised by the Cultural Activities Bureau and Events Communication Service of the Public Library at the Centre Pompidou.


JR was born in 1983. Photographer, poster maker and political activist, he has championed the cause of art in the street, beginning in 2006 with Portrait of a Generation: photos of young people from France's banlieues flyposted in giant format in the streets of Paris's well-off neighbourhoods. There is no quest for virtuosity in his work: he sees himself first and foremost as a witness to solidarity, with his huge pictures looming in the crisis-ridden landscapes of Rio's favelas and Kenya's shanty towns, in revolutionary Tunisia and America's Indian communities and, several times, in Israel/Palestine, where he instigated the biggest illegal photo exhibition ever. His success has been as rapid as it is dazzling. Spectacularly talented, he is the bearer of an overtly political message which uses his own special mix of humour and guts to work the media, the Internet and the art market.
Laureate of the prestigious TED prize in the United states in 2011, JR has come up with the Inside Out project, which makes his system available to anybody in the world wanting to stand up for a cause.


Selective bibliography
Carnet de rue, Free Presse, 2005
28 millimètres: portrait d'une génération, Alternatives 2006
Face 2 Face: Israelis and Palestinians, Portraits of Twin Brothers, text by Marco, Alternatives 2007
JR, preface by François Hébel, Pyramyd 2009
Women Are Heroes, text by Marco Berrebi, Alternatives, 2009
Artocratie en Tunisie, JR's Inside Out project, images by six Tunisian photographers, Alternatives 2011

Women Are Heroes (2010), directed by JR. "This film brings together the images and words of women I have met: a flood of lives and experiences that uses art to create a reality different from the media one." (JR)

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Carol Selter: Animal Stories
January 13th to February 29th

Carol e

Opening Reception for the artist, Friday, January 13th 6-9 PM
With music by Virgil Shaw

Gallery 16 is excited to announce it's fifth exhibition with SECA award recipient Carol Selter. In this exhibition Carol embarks on a timely discussion of the deadly threats to our natural habitat. She does so in three distinct bodies of work that encompass photography, sculpture and video. The work is simultaneously poignant, funny and disarming.

She uses a range of mediums from photographic prints to video to express her concern for environments and animals that fall victim to human activity and carelessness. The exhibition brings to light issues ranging from habitat destruction, pollution and over-harvesting both legal and illegal.

In her photographic series Calendar Pictures, Selter photographs taxidermed animals used in scientific research in their natural habitats. These photoshoots find the animals on field trips in acts of symbolic reparation. There they were photographed in the manner of classical wildlife pictures often seen in Wildlife Calendars. We see the familiar scenes and settings but they are unexpectedly populated with dead subjects. The ridiculous ways in which the dead animals have "been brought to life" are uncomfortably hilarious.

Carol Selter's work has been exhibited at the San Francisco Museum of Modern Art, di Rosa, CEPA Gallery, Buffalo, NY, Carpenter Center for Visual Arts, Harvard University and San Jose Museum of Art. She is the recipient of the SECA Award in Electronic Media (1996) and the Phelan Art Award-Photography.

For additional information contact Katy at 415.626.7495, or

501 Third Street
San Francisco CA 94107
































Pop Culture

Stories Behind the 20th Century's Most Iconic Portraits

The portrait, as far as we're concerned, is one of the most arresting forms of art. Not only does it portray a person, but it can affix a million meanings or emotions to that person. Here, we've collected a few of what can best be described as the most iconic portraits of modern icons: musicians and actors, artists and politicians. Note: we're not claiming that these are the most iconic figures of the 20th century, but rather that these portraits rank among the most powerful and enduring photographic images of the century. Indeed, many of these photographs have transcended their subjects to become iconic in their own right. Click through to see 10 of the most enduring portraits of pop-culture icons taken in the 20th century, and since of course there are many more that could have been included on this list, be sure to chime in with your own suggestions in the comments. Read more »


ARTS   | January 01, 2012
Apropos Appropriation
Beyond the legal questions in a copyright infringement lawsuit involving the artist Richard Prince, the case asks if the flow of creative expression, riding a tide of instantly accessible digital images, can be slowed.



Gritty, Intimate Photographs of British Gangsters

UK photographer Jocelyn Bain Hogg spent ten years documenting organized crime life, from the activity of British gangsters in South London to their exile in Tenerife, Canary Islands. With unprecedented access, these glaring images capture the storied villains at home, in salacious private parties, at unlicensed boxing matches, during business talks, and at the funerals of "old-school Godfathers of British crime," whose deaths would fracture and decentralize the social order within these underworld societies. The Firm was completed in 2001, re-visited in 2008, and is now on view at London's Foto 8 Gallery. Read more »


The 30 Best Movie Posters of 2011

As a brilliant series of collages recently demonstrated, movie posters are prone to cliché. You've got your quirky Sundance breakthroughs with their sunny yellow backgrounds, your romantic comedy heroines in their bright red dresses, your freaky horror-movie eye close-up. So it's always refreshing to see a poster that strays from the norm, whether it be a funny parody, a nostalgic style homage, or a bold still from the movie that piques our curiosity. We've collected some of our favorite film posters of 2011, from movies both wonderful and terrible. Read more »



Mark your calendars for March 9-11, 2012  and save the dates:


2012 Our World Portfolio Review


 • more info click here


• registration form click here





Still time to support PhotoAlliance with a year end tax deductable gift!



P. O. Box 29010 | San Francisco, CA 94129 US


Shai Kremer

Fallen Empires

January 5 - February 25, 2012

Reception for the Artist and Book Signing

Thursday, January 5, 2012
5:30- 7:30 PM

The Robert Koch Gallery is pleased to present Shai Kremer: Fallen Empires, an exhibition of large-scale color photographs of Israeli landscapes marked by historical conflicts and empire building. Moving beyond a one-sided view of Israel’s history, Kremer’s photographs explore the layered traces of historical nation building—shattered houses, remnants of corrugated fencing, and abandoned army barracks—as a process of construction and upheaval.
Kremer’s camera looks at an Israel ignored by media headlines, revealing a land written and re- written by conflict. His beautifully haunting images capture poignant juxtapositions of creation and destruction, man-made and natural, timeless and ephemeral. “My images of vestiges are a platform for discussion about the legitimacy and efficiency of imperialism and its use of power,” the artist says. “The camera... reveals inconvenient truths and explores the landscape as a place of amnesia and erasure.” By visually highlighting Israel’s archeological ruins as reminders of a historical past, Kremer questions how they are used today in discourse around the Israeli-Palestinian conflict and the future of the country.
Kremer was born in Israel and now divides his time between Tel Aviv and New York. His work has been featured in solo and group exhibitions world wide, including Exposed: Voyeurism, Surveillance and the Camera at The San Francisco Museum of Modern Art and the Tate Modern, London in 2010; Looking In, Looking Out: The Window in Art at the Israel Museum in 2010; Reality Check at The Metropolitan Museum of Art, New York in 2008, the 2007 Guangzhou Photo Biennale in Canton, China; Loaded Landscape at the Museum of Contemporary Photography, Chicago, IL in 2007, Engagement-Contemporary Photography at the Israel Art Museum in Jerusalem in 2007, and Disengagement at the Contemporary Art Museum in Tel Aviv, Israel in 2006. His photographs are held in the collections of the Metropolitan Museum of Art; Museum of Contemporary Photography, Chicago, IL; San Francisco Museum of Modern Art, New York; Museum of Fine Arts, Houston; Israel Art Museum, Jerusalem; and Contemporary Art Museum, Tel Aviv, Israel, among others.

To view exhibition >

IMAGE: Shivta’s Water Tanks, 2009





Adobe releases Lightroom 3.6 and ACR 6.6

Published on Tuesday, December 13, 2011 11:06:57 AM GMT

Adobe has released Photoshop Lightroom 3.6 and Camera Raw 6.6. These are final versions of updates that were originally posted as 'release candidates' on the Adobe Labs site, and are available for immediate download. The latest versions provide RAW support for 9 additional cameras, including the Canon Powershot S100, Fujifilm X10, Nikon 1 V1 and J1, Panasonic DMC-GX1, Samsung NX5 and NX200, and Sony NEX-7, alongside over 30 new lens correction profiles. 

Read full story


Interactive Feature: 2011: The Year in Pictures

From Joplin, Mo., to the Arab Spring to Occupy Wall Street, it was a year of upheaval both natural and man-made.

Artists Equipped With a Social Conscience


"The Radical Camera: New York's Photo League 1936-1951" at the Jewish Museum traces the group's history through some 145 photographs.


December 21, 2011


Städel Museum


Thomas Demand, "Saal," 2011 (Installation view).
Transfer print on synthetic fiber, 6.00 m x 64.60 m, 50 parts.*


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Thomas Demand's Installation in The Städel Museum's Metzler Hall

Städel Museum
Schaumainkai 63
60596 Frankfurt am Main

Opening hours:
Tuesday, Friday to Sunday 10 a.m.–6 p.m.
Wednesday and Thursday 10 a.m.–9 p.m.
T +49(0)69-605098-0
F +49(0)69-605098-111

The internationally renowned German artist Thomas Demand (born in Munich in 1964) will realize a site-specific room-spanning work in the Städel Museum's historical Metzler Hall in the context of the institution's structural and thematic extension. The installation "Saal" (Hall, 2011) covers all four walls of the 240-square-meter event space with an illusionistic crimson curtain, which reveals itself as an optical illusion on closer inspection. Spanning a wall area of 380 square meters, "Saal" is the largest work conceived by Demand for a museum to date.

The illusion of heavy brocade conveyed by the magnificent curtain's velvety shimmer is broken as soon as the observer approaches the (as it turns out, completely flat) wall piece with its deliberately unaltered creases, folds, and imperfections. What is to be seen is the reproduction of a paper model of the curtain to a scale of one to one set up and photographed in a studio. The picture was printed on a textile wall covering of synthetic fiber in a transfer process. The printed cloth was wrapped over a Soft Cells hidden aluminum frame suspension system, which was fastened to the wall by means of magnets. For several years, curtains have featured more and more prominently in Thomas Demand's works. In the past, real curtains were part of the general mise-en-scène of the artist's photographs. The installation in the Städel's Metzler Hall makes the curtain itself the subject of the work. Its elegant drapery endows the room with an equally intimate and magnificent setting which masterly plays with the observer's illusion and may also be read as a quote-like allusion to a number of paintings in the Städel's collection: Demand's "Saal" not only refers to the drapery and materiality of early Netherlandish paintings, for example, which rank among the highest achievements of European art, but also to the trompe l'oeil technique of the ancient world—an illusionistic method applied in painting and in architecture—rediscovered in the Renaissance era. One may also associate the work with Gerhard Richter's "Großer Vorhang" (Large Curtain, 1967), an almost monochrome work that seems to depict the drapery of a gray textile. Last, not least, the material character of the textile wall cover recalls Blinky Palermo's "Stoffbild" (Fabric Picture) from 1970. Thomas Demand's intervention provides the Metzler Hall, which has become the interface between old and new art in the Städel's new presentation in the course of the extension measures, with an aesthetic framework that makes the room a clear bridge between tradition and the present as a conceptual work of art and a historicizing festival hall all in one.

Demand's "Saal" in the Städel was acquired with means from the Städelkomitee 21. Jahrhundert. "Saal" has been produced and sponsored by the Danish textile company Kvadrat.

Thomas Demand was born in Munich in 1964. After studying sculpture in Düsseldorf and London, he presently lives and works in Berlin and Los Angeles. His works have been shown in numerous group exhibitions and solo shows, such as in the Deichtorhallen in Hamburg, the Berlin Nationalgalerie, the London Tate Modern, the Museum of Modern Art or the Guggenheim Museum in New York. The Städel's collection already boasts Thomas Demand's central work "Büro, 1995" (Office, 2007), with which the artist, relying on his characteristic working method, confronts us with the life-size model of an office in the Stasi headquarters building in Berlin which has been taken by storm. The reconstruction of the room enables the artist to access the past in the medium of photography. "Büro, 1995" is part of the body of contemporary photographs from the DZ Bank collection that has been entrusted to the Städel.


*Image above:
Städel Museum, Frankfurt am Main
Photo: Norbert Miguletz
© VG Bild-Kunst, Bonn 2011
Acquired with means from the Städelkomitee 21. Jahrhundert in 2011, property of the
Städelscher Museums-Verein e. V.
Supported by Kvadrat Soft Cells 



49 Geary Street Fifth Floor San Francisco CA 94108

Kota Ezawa
The Curse of Dimensionality

January 5 - February 18, 2012
Opening reception: Thursday, January 5, 2012, 5:30pm to 7:30pm

Still from City of Nature, 2011, DVD, 6 minutes

In works produced during the last three years, Kota Ezawa addresses dimensionality and perception
using a variety of media including animation, lightboxes, paper cutouts and stereoscopic images. Physical
and illusionary space, reality and fiction form a complex relationship in Ezawa's still and moving images
that reference films, TV footage and photographs from the early twentieth century to present-day. The
exhibition is divided into two areas, one containing light emitting works displayed as lightboxes and flat
screen monitors - the other made up of light-absorbing surfaces such as framed works on paper and
photographic prints. This is Ezawa's fourth solo exhibition at Haines Gallery.

The exhibition includes City of Nature (2011), an animation originally commissioned for Madison Square
Park in New York. The work weaves together fleeting excerpts from 20 popular films - including "Days of Heaven," "Brokeback Mountain," "Twin Peaks" and "Fitzcarraldo" - in which nature alone is featured
onscreen. Drawn manually using Ezawa's hallmark style of freehand, computer-assisted digital animation,
these vignettes are edited together to form a new narrative in which nature, otherwise used as cut away or
in-between shots, acts as the central character.

Nature and landscape are also featured in Ezawa's new lightboxes, stereoscopic images and paper cutout
collages. Referencing NASA imagery and nature photography the lightbox images are drawn in a way that
de-naturalizes their photographic reality, lending them a fictional aesthetic. In the stereoscopic images, a
process new to the artist's practice, Ezawa re-presents scenes from City of Nature as virtual dioramas. When
seen through a stereo viewer, the flatness that commonly characterizes Ezawa's work expands into a layered
three-dimensional space. Landscapes and seascapes are the subject of the cut paper collages. The paper
cutouts mirror the flat color drawing style found in Ezawa's digitally produced works. In the exhibition, the
cutouts are arranged to form another mega landscape made up of diverse individual paper landscapes.

Paper cutouts also form the basis for Paper Space - a pop-up book consisting of paper cutout dioramas
based on film and TV depictions of historic events that have been the subject of earlier works by Ezawa.
Apart from providing a gaze at history, the book contemplates space-the space of a book, the space of a page,
the book as space, flatness, and three-dimensionality. Paper Space was produced through the San Francisco Center for the Book, where the work is concurrently on view from December 16, 2011 through January 27, 2012.

Two additional animated films are on view at Haines Gallery, Beatles Uber California (2010) and
LYAM 3D (2008). Beatles Uber California pairs an animation of the Beatles' 1964 performance on the Ed
Sullivan show with the Dead Kennedys' song "California Uber Alles," treating sound and image as two
distinct channels that address the viewer simultaneously. LYAM 3D is a silent animation in anaglyphic 3D
based on Alain Resnais' 1961 film "The Last Year at Marienbad." The animation focuses on scenes from the
film where actors hold statuesque poses in front of the gardens and interiors of a baroque luxury hotel. With
the added effect of 3D animation, Resnais' sets turn into architectural models inhabited by motionless characters.


Copyright (C) 2012 Haines Gallery All rights reserved.



DIY Photo Wrapping Paper — Wrap Gifts in Your Very Own Photos!

Extra photos for bloggers: 123

Reindeer and Santa Claus wrapping paper = snoozefest!

Switch things up this year with your very own DIY photographic wrapping paper.

It’s a gift in and of itself — especially if it’s got your beautiful mug on it.

Your friends and family will def want to save your crafty wrapping. Maybe they’ll even regift it!

Make Photo Wrapping Paper