CONVOCATORIA: Día Nacional del Fotógrafo 2012, Casa SinFin

Convocatoria – Día Nacional del Fotógrafo 2012 Casa SinFin, primera Galería Fotográfica de Bogotá invita a todos los fotógrafos y estudiantes de fotografía a participar en la segunda edición de este homenaje a los artistas y profesionales colombianos.CATEGORIAS:1. Reportería Gráfica 2. Arquitectura 3. Still LifePREMIOS: 1er Lugar: - Cámara Olympus PEN E-PL2 - Día de Estudio PRO con Equipos 2ndo Lugar: - Impresora EPSON TX-135 - Día de Estudio PRO 3er Lugar: - Trípode Manfrotto - Día de Estudio JR Los tres ganadores recibiran también: - Suscripción de 1 año a la Revista Enfoque Visual - Bono de $100.000 para impresión con Imagen Positiva Todos aquellos interesados en participar deben ingresar a la pagina web de Casa SinFin sección blog para conocer las reglas del concurso. http://www.casasinfin.com.co/category/blog/ Organizan: Casa SinFin Enfoque Visual Patrocinan: Olympus Imagen Positiva Epson Cassa Importadores Volante del evento: Fotografía ganadora Día Nacional del Fotógrafo 2011 Categoría: Retrato Título: La Actriz Autor: Lulú Salgado

Equipo Humano

Casa SinFin

• CONVOCATORIA DE ARTISTAS

CONVOCATORIA — CONVOCATORIA

Saludo especial para todos nuestros amigos del Teatro Cádiz, esperamos nos sigan acompañando este año para disfrutar de excelentes espectáculos.

Tenemos el gusto de invitar a los amigos artistas y/o grupos para nuestros proyectos artísticos y empresariales del 2012. Específicamente estamos buscando lo siguiente:

 

- Bailarines de BREAK DANCE e interpretes de HIP HOP

- Grupos musicales o artistas que tengan repertorio de MÚSICA COLOMBIANA en cualquier  formato.

- Grupos de DANZA o artistas que tengan montajes de FOLKLOR COLOMBIANO en cualquier formato.

- Obra de TEATRO que tenga como temática el DÍA DE LA MUJER o algo alusivo a ese día.

Los interesados por favor enviar sus propuestas al correo: teatrocadiz@gmail.com

Gracias por su colaboración

Fabián Acosta Quiroga

Director

tels. 3012800887 - 2690492

director@teatrocadiz.org

 

 

 

_________________________
Fabián Acosta
Director Artístico
Cel. 3012800887
Tel. 5702448 – 2690492
www.teatrocadiz.org
teatrocadiz@gmail.com
director@teatrocadiz.org

Zinnia Muñoz
Coordinadora artística
Cel. 3012800866
www.maquillajefantasia.blogspot.com
maquillaje@teatrocadiz.org

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Este mensaje contiene imágenes, si no las puede ver correctamente pulse aquí

Ciudad Solar y el Ciclo Histórico de Cali, en El Parqueadero Con una conferencia y la proyección de tres películas se inicia este jueves la programación del proyecto artístico Lugar a Dudas. ENTRADA GRATUITA

Por Katia González 26 de Enero de 2012. 4:00 pm Museo de Arte del Banco de la República, El ParqueaderoEl Banco de la República hará una conferencia donde se discutirá sobre Ciudad Solar, un espacio de encuentro y discusión que surgió de manera espontánea en la década de los años setenta en una casona de Hernando Guerrero, en Cali, y a la que iban jóvenes artistas, como Andrés Caicedo, Carlos Mayolo, Pakiko Ordóñez, Ramiro Arbeláez, Hernando Tejada, Lucy Tejada, Luis Ospina y Óscar Muñoz, entre otros. LA PROYECCIÓN DE LAS PELÍCULAS SE INICIARÁ UNA VEZ HAYA TERMINADO LA CONFERENCIA Oiga vea, de Carlos Mayolo y Luis Ospina (27 min.)Enero 26 Ciclo Histórico de Cali El Parqueadero, Museo de Arte del Banco de la República.   Cali de película, de Carlos Mayolo y Luis Ospina (14 min.)Enero 26 Ciclo Histórico de Cali El Parqueadero, Museo de Arte del Banco de la República.   Agarrando pueblo, de Carlos Mayolo y Luis Ospina (28 min.) Enero 26 Ciclo Histórico de Cali El Parqueadero, Museo de Arte del Banco de la República.

Consulte toda la programación cultural del Banco de la República www.banrepcultural.org Biblioteca Luis Ángel Arango y su red de bibliotecas www.banrepcultural.org/blaa Calle 11 # 4 – 14, teléfono: (571) 343 12 12, fax: (571) 286 35 51, Código postal: 12362, wbiblio@banrep.gov.co Bogotá – Colombia

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Equipo de Comunicaciones Secretaría de Cultura, Recreación y Deporte
Tel: 3274850 Ext 535- 536- 543-
Consulte toda nuestra programación en: www.culturarecreacionydeporte.gov.co
o escribanos a: prensasecretariadecultura@scrd.gov.co

http://www.hasselblad.com/masters/masters-finalists.aspx

http://www.hasselblad.com/hasselblad-masters-jury.aspx

http://gallery.me.com/hasselbladusa#100512

Hasselblad Masters Jury.

Periodo de Residencia en Residencia en la Tierra dentro del marco del 14 Salón Regional de artistas Zona Centro Occidente (Departamentos de Caldas, Risaralda, Quindío y Antioquia).

Equipo curatorial Residencia en la Tierra, curaduría Residir: de la ventana hacia adentro, de la ventana hacia afuera.

En Febrero del 2011 nuestro equipo, Residencia en la Tierra, conformado por Elena Landínez, Fátima Vélez, Pedro Nicolás Villegas, Sebastián Cruz y Daniel Santiago Salguero, obtuvimos la beca de investigación curatorial para el desarrollo del 14 Salón Regional de Artistas de la zona Centro Occidente con el proyecto curatorial Residir: de la ventana hacia adentro y de la ventana hacia fuera; una propuesta que busca establecer una narrativa sobre la noción de residir como un reconocimiento de puntos de encuentro entre la vida y el arte.

Desde que recibimos la noticia de la beca hasta el día de hoy han pasado 10 meses, en los cuales hemos logrado:

-Montar la plataforma web www.elresidir.org, que actualizamos regularmente con avances sobre la investigación y la información sobre los artistas elegidos.

-Realizar una convocatoria para escoger a 15 personas (entre colectivos y artistas individuales), con obras que estuvieran terminadas o al menos en un estado avanzado de desarrollo. La convocatoria la montamos en la plataforma web, la difundimos a través de nuestra base de datos e hicimos un viaje a las capitales de los cuatros departamentos para difundirla personalmente en universidades y centros culturales.

-Revisar una a una las propuestas enviadas, que en total fueron 120.

-Preseleccionar a los artistas cuyas propuestas consideramos más pertinentes por su relación con el eje curatorial.

-Realizar las visitas a las casas y/o talleres de los artistas preseleccionados, que en total fueron más de 60 por los cuatro departamentos.

-Elegir las 15 propuestas que más afinidad tuvieran con nuestra curaduría. Estas propuestas pertenecieron a 15 artistas individuales y un colectivo.

-Realizar el período de residencia en Residencia en la Tierra, donde los artistas elegidos estuvieron durante un periodo de 13 días (del 11 al 24 de noviembre) trabajando sobre las posibilidades de sus obras, las cuales integrarán el 14 Salón Regional de artistas de la zona Centro Occidente.

Estos artistas y sus respectivas obras son:

-Andrea Carolina Muñoz (Caldas). Obra: Lugar No- lugar,

-Paúl Barrios (Caldas). Obra: Circuito Performático,

-Georgina Montoya (Caldas). Obra: Expresionismo digital o del autoretrato como catarsis,

-Jorge Iván Agudelo (Quindío). Obra: La Primavera,

-Lwdin Franco (Quindío). Obra: Es arriba como es abajo,

-Nataly Rubio (Quindío). Obra: Despojarse del cuerpo en la razón y de la razón en el cuerpo,

-Natalia Gil (Antioquia). Obra: Estudios sobre la No casa,

-Colectivo INPAR –Aurora Pineda/ Juan Ricardo Urrego- (Antioquia). Obra: Statu quo, el estado de la casa,

-Sebastián Restrepo (Antioquia). Obra: Los misterios dolorosos,

-Alejandro Tobón (Antioquia). Obra: El objeto del taller,

-John Mario Ortiz (Antioquia). Obra: Reformas,

-Mauricio Rivera (Risaralda). Obra: Chicarra armónica,

-César del Valle (Risaralda). Obra “Sin Título”,

-Fredy Clavijo (Risaralda). Obra: Viaje imaginado,

-Gustavo Toro (Risaralda). Obra: Piso de agua,

Con el periodo de residencia buscamos nutrir a los artistas y sus respectivas obras a través de las visiones y proyectos de otros artistas y bajo el acompañamiento de tres tutores. La función de los tutores consistió en articular reflexiones y diálogos acerca del eje de la curaduría.

Los tres tutores que estuvieron acompañando a los artistas fueron Mariana Dicker, artista plástica y docente de la Universidad Jorge Tadeo Lozano de Bogotá; María Isabel Rueda, artista plástica; y Fredy Alzate, artista plástico, docente de la Universidad de Antioquia y EAFIT, coordinador del programa Pasaporte al Arte, del Museo de Arte Moderno de Medellín (MAMM). Cada uno de ellos escuchó individualmente a cada uno de los artistas, aclararon dudas y resaltaron aspectos de las obras propuestas para el Salón. Según las necesidades y potencialidades que encontraron en cada una de las obras, los tutores propusieron ejercicios, ofrecieron material bibliográfico e imágenes como posibles referentes para los trabajos de los artistas.

Asimismo, durante el período de residencia se generaron diálogos y mesas redondas sobre la relación entre los proyectos, el eje curatorial y los espacios físicos de la muestra. Realizamos una lluvia de ideas sobre los posibles espacios donde se realizará el Salón y sus posibilidades, límites y fronteras. También se generaron diversos diálogos sobre estrategias para hacer que la gente vaya al Museo a ver la muestra, y posibles estrategias para dinamizar y acercar la exposición al público. También se habló sobre cómo activar las ciudades a las que no llegará la muestra.

Durante estos días también recibimos la visita del Maestro Jaime Cerón, Asesor de Artes Visuales del Ministerio de Cultura, quien observó el proceso de los artistas en residencia y dialogó con ellos sobre sus obras y la muestra.

El ejercicio de convivir durante esos días con los artistas y el de los artistas de convivir con nosotros y entre ellos, la oportunidad de participar de la obra del otro y la de recibir sugerencias y propuestas, la de conocer caras insospechadas de las obras que integrarán el Salón, fue un ejercicio de generosidad, de intercambio de buenas ideas y conocimiento, de receptividad y se hizo posible gracias a la fluida comunicación que se estableció desde el primer momento entre todos, que nos hizo sentir que las cosas salieron incluso mejor de lo planeado. Toda esta experiencia tendrá como resultado un documental que presentaremos en la inauguración del Salón Regional en Medellín (el lugar y la fecha aún están por definirse), y tendrá una itinerancia en el Museo de arte de Pereira a finales del 2012. Damos inmensas gracias a los artistas, tutores y todos aquellos* que hicieron posible que este proyecto se esté haciendo realidad.

Atentamente,

Equipo de Residencia en la Tierra

Photo and caption by Shikhei Goh

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La imagen detallada  de una libélula sujetada de pies y manos a una varita cuando llovía y venteaba fue elegida entre más de 20 mil como la mejor fotografía del concurso 2011 de National Geographic. “Splashing” fue el título que escogió el fotógrafo indonesio Shikhei Goh para su toma. Según Amy Toensing,  uno de los jueces del premio, en la imagen casi se puede sentir el esfuerzo que está realizando la libélula contra el tiempo. Por la foto, Goh recibirá 10.000 dólares y el reconocimiento de ver su imagen publicada en la edición internacional de la revista National Geographic.

http://ngm.nationalgeographic.com/ngm/photo-contest/2011/entries/gallery/nature-winners/

Grand-Prize Winner and Nature Winner

Photo and caption by Shikhei Goh

Arrows of rain seem to pelt a dragonfly in Indonesia’s Riau Islands in Shikhei Goh’s winning image, “Splashing.”A sudden rainstorm left Goh with a tough decision: Get his camera wet, or take advantage of the “superb lighting,” he wrote with his submission to the 2011 National Geographic Photography Contest.He took the picture, resulting in a “very striking macrophotography image that rose to the top of the nature category for me because of its originality, beautiful light, rare action in a close-up image, as well as its technical perfection,” said Tim Laman, one of three National Geographic magazine photographers who judged the contest.”You can almost feel the dragonfly’s experience of bracing itself against the weather,” said judge Amy Toensing. “When I look at it, I want to say, Hold on tight little buddy!”The insect’s plight also appealed to judge Peter Essick, who said the photograph gives the dragonfly a “character us humans can relate to.”"It’s rare indeed to see a photograph that causes the viewer to feel a bond with a member of the animal world seemingly,” Essick said, “but maybe not, so unlike our own.”

Photo Location

Batam, Riau Islands, Indonesia

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AlternativePhotography.com – if you love alt. proc.! July 2010 Newsletter

Multi-pinhole cameras: why and how As if pinhole cameras were not enough, here is an article on multi-pinhole cameras, originally written for Diffusion magazine. Learn what several exposures can bring to your image. David Lewis also browse though the bromoil history, and two new artists join us. Adventures with multi-pinhole cameras Malin Fabbri builds and tests multi-pinhole cameras. An excerpt from Diffusion magazine, volume II.

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I have always been drawn to alternative photographic processes for many reasons. Among those reasons exists the potential for what I call “happy accidents”: events
and outcomes that occur without intention and that ultimately result in a better print.

Typical happy accidents are often related to the print-making process: an unintentional spill of emulsion on paper, a brushstroke taking on a shape of its own or a color shining with an unexpected hue. Such accidents, commonplace in the pinhole photography, can lead to a very pleasing print (and, in my case, a very happy photographer).

These “accidents” may also occur in-camera, however: intriguing light leaks, a failure to fully wind between exposures, or an imperfect container all can result in surprisingly beautiful images. When it comes to building a pinhole camera, though, why leave these events to chance? If one can create his or her own luck, shouldn’t it also be possible to lure the happy accident into forming?

Unique Characteristics of Pinhole Photographs

Many special effects can be created by modifying a pinhole camera. As an example, the camera can be designed with a bent film plane, which distorts horizons and subject matter. Additional effects can be obtained by modifying the focal length: a camera with an extremely short focal length creates a wide angle effect, whereas a telephoto effect may be created by building a camera with a long focal length. Another alteration involves zone plates, which are a series of clear and opaque rings that add soft focus and sometimes a halo to the subject. Furthermore, a “cubistic” effect (multiple exposures) can be achieved by building a “chest of drawers” style camera. This effect involves several pinholes exposing light on the paper or film.

When it comes to uniqueness and special effects, my favorite pinhole camera technique involves using multiple pinholes. The first multiple pinhole I ever set eyes on was taken by Jan Kapoor with her 360-degree camera. With such a camera, subjects and landscapes merged in Jan’s images, touching and interacting with each other. Jan’s pinhole camera was created using a hexagonal box. It has six separate pinholes of the same diameter on each side of the box. Inside the camera, the film is wrapped around a cylinder, making it possible for Jan to expose the film from several angles. She is able to use those six pinholes individually, simultaneously, instantly or over a period of time to create her wonderful landscapes.

Constructing Multiple Pinhole Cameras

Now that we’ve covered some basics, let’s delve a bit deeper into my favorite pinhole camera technique. In the experiment I will describe, I had a particular goal in mind: I wanted to see what kind of results I could get by creating and comparing two multiple pinhole cameras of similar size but of different shape: one square, the other round.

The first step? Choosing my containers. I admit that I am one of those computer nerds who buys software and then keeps the boxes, full of manuals and CDs, on the bookshelf. When I was looking for a container for my most recent camera a big, sturdy, completely black (and therefore already prepped as a pinhole camera) “Apple” box caught my eye. I was forced to sacrifice a few manuals into the recycling bin, but I decided this box would be perfect for making a square multi-pinhole camera. The second container was even easier to choose, as it involved washing down a tin of very tasty “Anna’s Gingerbread Biscuits” with a few cups of tea to free up a perfectly round container.

I then spent a day with Lena Källberg, in her studio in Stockholm, to build and test my two cameras (ingeniously named “iPinhole” and “Ginger”). Lena, who is also an avid pinholer, built her own multi-pinhole camera using a round cake tin. She named it “Turizt” after the name on the box. You can call me crazy, but I have a theory that computers and cameras work best when they have a good name. If you don’t already have names for your cameras, give it a try…you might be surprised by the results.

Image right: Ginger, iPinhole and Turizt

After contemplating the technical details, I decided to give the iPinhole camera three openings (the openings would eventually hold a piece of aluminum, through which the pinholes would be drilled): a square opening in the front – piercing the Apple logo – and one in each side. Ginger received three openings as well, each spaced evenly across the front of the tin. Lena decided to make hers a 360-degree camera, which meant the Turizt camera was the beneficiary of three openings, carefully measured and spaced exactly equidistant around the box – she is a perfectionist!

Each of our cameras received an inner circular can for fastening the paper. For the iPinhole and Ginger, the inner can was placed in the center. The inside of Ginger was then sprayed with matte black paint. Turizt was given a coat of matte cardboard paper while iPinhole, already black both inside and out, needed no extra coloring.

After prepping the cans and the box, it was time to work out optimum pinhole sizes. We elected to use “PinholeDesigner”, which is a great calculator that can be downloaded and installed from this site: www.pinhole.cz/en/pinholedesigner. Our calculations revealed that the optimum pinhole size for both iPinhole and Ginger was between 0.31 mm and 0.40 mm. Turizt had an optimum pinhole size of 0.36 for all six holes. Making nice, round pinholes of the right size is one of the trickiest challenges in constructing a pinhole camera. We selected to use an old beer can, which was cut, sandpapered smooth, pierced with a needle, scanned in and measured in Photoshop, pierced, sandpapered again, scanned and measured again, and again, and again.

One might ask at this point: why drive ourselves crazy trying to make the perfect hole? For this reason: a perfectly calibrated pinhole camera has an infinite depth of field, which means that everything in the final photograph will be in focus. That quality is what we were after, and we managed to make all the holes with a difference of less than 0.02 mm.

After we had determined the size of the pinholes and the focal length, we could easily work out the f-stop of our cameras using this formula: focal length/diameter of pinhole=f-stop

Testing the New Cameras

All three cameras were quite close in their f-stops. The iPinhole camera had f-stops ranging from f/179 to f/211. Ginger’s range landed between f/160 and f/184, and Turizt had an f-stop of f/180.

When the paint had dried and we were finally happy with the pinholes, it was time to test for light leaks. We journeyed into the darkroom and inserted a brand new sheet of unexposed paper into each camera and placed the cameras in the sun for a few minutes, WITHOUT opening the shutters. The paper was then developed and each sheet emerged white as snow – perfect, no light leaks!

We could finally head out to the park to field test our cameras. It was late in the afternoon, but it had been a lovely day and it was still sunny. The September sun was setting behind a number of buildings. After consulting the exposure chart listed in From pinhole to print (also shown here) I decided on an exposure of “cloudy at f/180”. This translated to an exposure time of two to four minutes, so I selected to expose the paper for an average of three minutes.

Ginger behaved excellently during the exposure, and the black tape shutters worked fine. Turizt also performed well. iPinhole, however, was a different matter. The use of a black tape shutter on a cardboard box was not optimal, as part of the box’s paper tore loose when I pulled the tape away for exposure. This not only ripped pieces off the box but also rendered the black tape useless for further exposures. As I had not taken this into consideration, I had no more black tape with me in the field and had to cover the holes with my hand on the way back to the darkroom. Not ideal.

Image right: Sushi bar by Malin Fabbri

It was now late, however, and the sun had set. It was time to call it a day – no more time for test shooting. We returned to the dark room to develop our prints. iPinhole’s test print did develop a black patch on the side of the paper – I suspect due to an inability to close the shutter properly. That very night, I used a beer can to create a reinforced plate over the holes in iPinhole, so I would be able to remove the black tape without parts of the box falling off. Much better!

The cameras were now complete, and the test prints developed. Complete, at least, in the cases of iPinhole and Ginger. Lena achieved a very nice test shot with her Turizt but, because she is a perfectionist, has decided to fine-tune her camera. She is working out the optimum space between the inner can and the outer can to make a perfectly seamless gap between each image. So far, her conclusion is that five pinholes, coupled with the use of a smaller outer can, will result in a perfect multi-pinhole camera.

Although we have improved our chances of avoiding accidents, we are still treated with unpredictability of pinhole photography and those aforementioned happy accidents. To the seasoned photographer, pinhole cameras may seem too simple to offer much versatility in the area of image-making. However, these “limitations” often help a photographer free him or herself from the discrete and often rigid technical settings that more modern cameras possess. Such pinhole cameras, utilizing one or more tiny, drilled holes, record the world differently than the way our eyes see it and add unexpected characteristics to reality. In this way, what were once limitations may then become the opposite: they may become, in fact, opportunities, inspiring creative problem-solving in less than perfect situations.

An explanation of how the multi-pinhole camera reverses the image

When light enters a pinhole camera, the image is reversed and upside down. A multipinhole camera will not make panoramic images, as perhaps would be expected, since each image is reversed. An object that sits at a dividing line between two pinhole projections will be split into two pieces that are on the far sides of the negative. To achieve panoramic images you would in fact need a very complex design using mirrors. What you achieve instead with a multipinhole camera is an interesting blend of the landscape and and unexpected merging of objects. The images reverse into each other, one after another.

This article was published in Diffusion magazine. Malin Fabbri moved from Sweden to London to study, and earned an MA in Design at Central St. Martin’s. She has worked professionally with big media names in London, and has written two books on alternative photographic processes. In 1999 she began AlternativePhotography.com, and continues to be it’s editor.