Cuándo: Jueves 2 de febrero

Dónde: Galería de Trementina Artes- Av. Cra. 24 No 37-44 Park Way, La Soledad.

Hora: 7:30 pm

Entrada libre y coctel de bienvenida.

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APRIL 1 – APRIL 6 PLEASE REGISTER SOON TO SECURE YOUR PLACE America’s Premiere Event for Emerging, Professional & Serious Advanced Amateur Photographers QUICK LINKS:PSPF Website Register Travel & Hotels Our Sponsors What is the Palm Springs Photo Festival?You belong in the community Imagine a week in Palm Springs, California where you can study with famous working photographers like Nigel Parry, David Muench, Ron Haviv, Keith Carter, Robert Maxwell, Shelby Lee Adams and others – show your work to over 120 industry influencers from both art & commerce (museums, galleries, book publishers, magazines, ad agency creatives, reps, consultants, agencies etc.), attend in-depth seminars on subjects ranging from advanced Photoshop, Lightroom, Aperture and Silver Effex Pro to the Business of Photography, Copyright and Model Releases, Digital Printing, Digital Asset Management and more – PLUS attend a dynamic round-table discussion each day and an Evening Presentation each night – and four great networking events. Sound good? Click HERE to find out all the details and register today! “The only criticism I have is that no where on your website did it say how totally cool this event is!” Jamie “I just wanted to say thank you again for the kind and inclusive treatment in Palm Springs. Your event is 5 star, and I’m still vibrating with the energy. Can’t wait until next year.” Carrie _______________________________________ THE PALM SPRINGS PHOTO FESTIVAL PORTFOLIO REVIEW The Palm Springs Photo Festival produces two of America’s most influental and respected Portfolio Review programs. The Connect 2012 Review takes place over 5 days (April 2-6) and will offer over 1100 reviews by influencers from throughout the country, encompassing the entire spectrum of the photography field including museum curators, gallery directors, magazine editors, picture editors & art directors, advertising agency creatives, book publishers, and more. Register before March 17 to be able to select your reviews! This is the opportunity to have face time with people who can not only offer expert advice, but can change your career as well.   View Reviewers / Bios View Review Schedule View Reviewers Sorted by Profession View Participating CompaniesThe Palm Springs Photo Festival  PORTFOLIO REVIEW SOURCEBOOK Register for Portfolio Reviews now and be eligible to have a free, full page devoted to their work (photograph, contact info) included in our Portfolio Review Source-Book, printed by Blurb, which will be distributed to each of the reviewers in the Connect 2012 Portfolio Review. Don’t miss this exciting opportunity! _______________________________________ WORKSHOPS AT THE 2012 PALM SPRINGS PHOTO FESTIVAL If you are considering entering our extraordinary workshop program – the time has come to make a decision! Dont wait until the last minute – register now to assure your place in the workshop of your choice. Portrait Workshops:NIGEL PARRY: Editorial Portraits on Assignment This workshop represents a very rare occasion to study for several days with one of the most in-demand editorial portrait photographers working today. We’ve seen Nigel’s work in publications worldwide for over 15 years. This class will not focus so much on lighting, for example, but more on the actual experience of executing editorial portrait assignments. Students will see how a portrait is set up and what happens before, during and after the session. SHELBY LEE ADAMS: Environmental Portraiture Using Mixed Lighting In this workshop, you’ll have a chance to work closely with renowned photographer Shelby Lee Adams and develop your own eye for environmental portraiture using mixed lighting sources on location. This course will explore the psychological, emotional, and technical aspects of portraiture, with special emphasis on photographing people in their environments. FRANK OCKENFELS III: Signature Portraiture “This workshop will serve as a reminder of why we take pictures. We will explore looking at and playing with natural light, alternative lights and lights we find at night. It is a hands-on workshop where I will guide students through my methods; how I see, work and find light. This is not a conventional studio class; strobe and hot lights will not be addressed.” Fine Art Photography Workshops:KEITH CARTER: Finding Your Voice: Personal Style Would you like to develop or refine your personal style, strengthen your original vision, and broaden the way you think about the art of photography? This workshop is to help serious amateurs and professionals achieve more passion in their work by clarifying the narrative, aesthetic, and emotional aspects of image making. In this lies the key- your vision can transcend the ordinary, move away from the typical and conventional. LISA KERESZI: Fine Art Photography: Conceiving & Executing Viable Fine Art Projects During the days of this workshop, students will immerse themselves in the making of photographs, review and critiques in order to help clarify how to take the next step and find their own path in fine art photography. This workshop will explore the three directions in Kereszi’s work: Interiors, Landscape, and Portraits. She’ll discuss the importance of judicious editing, the production and sale of fine art prints and how to define one’s unique voice. Emphasis will be placed on the importance of working effectively on a series. ROBERT MAXWELL: The Contemporary Fine Art Nude For the first time Maxwell has agreed to conduct a workshop on the subject of the fine art nude. Not a classicist by any means, he has explored making nudes in his own, totally original and contemporary fashion. In this special workshop, Maxwell will work intensely with his students, revealing his motivations and techniques. It will feature active picture-making, supplemented by morning presentations / demonstrations LISE SARFATI: Fiction & Reality As many of you know, the idea of creating fictional stories in color fine art photography has become very popular (some say cutting-edge) in recent years. In this workshop, French photographer Lise Sarfati will delve into the methods and inspirations that inform her well-known narrative photographic work. “Fiction is a reflection of your interior world and photography is how it is projected into Reality.” The result from this meeting of your own inner world (the Fiction) and the exterior world (The Reality) is the subject of this workshop. Photojournalism:RON HAVIV: The Photojournalism Master Class This workshop will explore the multifaceted approaches to photojournalism and help guide you on your own path. Participants will learn what is required of a photojournalist, not just in the field but also when it comes to having work published and how to get your work known. Developing a personal sensitivity and visual style will be emphasized and Haviv will encourage you to work using your instinct rather than formula. Portfolio reviews will guide each person’s narrative direction and then be developed through assignments given during the workshop. You will leave with a clearer understanding of your next step and be well along the way to defining your personal path forward. Documentary Photography:GERD LUDWIG: Documentary Photography on Location: Exploring the Salton Sea and its Surroundings. After individual portfolio reviews, Gerd will openly share the personal approaches he uses to create his own stories for National Geographic Magazine. Technical discussions will focus on how to use photographic tools in real-world scenarios to capture atmosphere and mood, while maintaining a sense of place; photograph people in an intimate fashion; and to use form, lighting, and color in a sophisticated manner in order to communicate emotionally as well as editorially. Landscape Photography:DAVID MUENCH: The Desert Light: Color in the Landscape Back by popular demand, famed photographer David Muench leads this exciting workshop into the exotic desert regions adjacent to Palm Springs to photograph the color desert landscape and flora. There will be field trips to nearby destinations such as Joshua Tree National Park and other areas. Be ready for a sunrise expedition! Sports Photography:KARL WEATHERLY: An Introduction to Sports Action Photography In this workshop, you’ll have a chance to learn the best approaches to action sports photography. We have obtained permission to photograph at skateboard parks and bicycle motocross tracks near Palm Springs. We’ve engaged amazing young “hotshot” skateboarders and bicycle racers for this workshop. By the end of Wednesday, Weatherly plans to have covered a great many of his action techniques. Included topics would be discussions of how the careful selection of shutter speeds relate to the finished product and how to shoot sports with a wide open aperture with good success. Underwater Photography:TIM CALVER: Underwater Photography This unique, two day workshop with underwater photographer Tim Calver will give students an overview of Mr. Calver’s freelance career with an emphasis on technique and artistic expression, as well as an opportunity to create personal images underwater. We will discuss working with models underwater, and focus on working with underwater strobes and the possibilities presented by artificial light. The students will then break into small groups and work with a variey of lenses and models to create unique underwater portraits. Portrait Lighting Workshop:NELS ISRAELSON: The Dramatic Portrait: Shaping Light to Create Mood, Enhance Character & Increase Drama “In this One-Day workshop, we will not address how a key umbrella should be balanced with a fill softbox for perfect ‘portrait lighting’. Rather, we will explore the fundamental dynamics of how light works and create lighting in the studio that feels authentic and evocative. You will learn to control these aspects of light, regardless of your subject matter or whether you choose to utilize studio lighting tools or natural sources.” Business Workshop:THE BUSINESS OF PHOTOGRAPHY: The Business of Photography is an amazing all-day course covering the major facets of the relationships in the business of photography. There will be 8 different instructors each taking a turn discussing their special areas of expertise: The editorial relationship, the advertising agency / client relationship, the artist’s representative relationship, the book publisher relationship, the gallery relationship, the stock agency relationship. Understand how these business relationships work, how they are structured, how to protect yourself, how to know what needs to be in your bids and on your invoices. Instructors include real-world influencers from the advertising, editorial, gallery, book publishing, museum, stock agency and artist’s representative spheres of contemporary photography. THE EDITORIAL PHOTOGRAPHY CRASH COURSE This one-day workshop is a crash course of Marcel Saba’s popular Editorial Photography class. Saba will discuss the key aspects of marketing and editing for editorial clients. Topics covered include the building, editing and presenting of a portfolio, approaching photo editors, finding the right agent, creating the right images, building a stock library,billings, contracts and maintaining rights. ______________________________________________________ Need a Hotel? The Attendee Headquarter Hotel is the HYATT REGENCY SUITES. There is a limited quantity of suites available at only $119! A WEEK IN THE CALIFORNIA DESERT Now is the time to make your decision to join us in the most exciting single week of photography available. Participate in our remarkable Workshop program, studying with celebrated, real world working photographers. Learn a tremendous amount of new information, essential to your work and career in our Seminar program. Attend important discussions about our current business environment at our daily Symposiums. Get your work in front of industry influencers in our celebrated Portfolio Review program (this year well offer over 1000 portfolio reviews!) and submit your work in our No Fee Slide Show Contest and possibly have your work projected for the entire festival audience as well as win great gifts from our sponsors. Here’s what’s included in your $80 daily registration fee ($30 on Friday): • Admittance to 8 Seminars during the week • Our important daily Symposiums: The Business of Fine Art, Entrepreneurialism & Monetizing the Internet, Advocacy & Photographic Art and PDN Presents: Strategies for the Emerging Photographer • Four Networking events with wine tastings from prominent California wineries L’Aventure & Cass Wines. • Unlimited access to our Sponsor Headquarters. See the latest from Canon, Epson, Leica, Samys Camera, Fuji, Academy University, ASMP and others. • Access to the Open Portfolio Review ™ Sunday, April 1at the Hyatt Regency. Over 80 photographers will present their work! • Invitation to our Opening Reception immediately following our Open Portfolio Review. _______________________________________________________ NO-FEE SLIDE SHOW CONTEST Send us your slide shows! You can send as many as you like. The Palm Springs Photo Festival Slide Show Contest has led to the discovery of many great photographer’s work over the past 7 years. Each evening in the Annenberg Theater of the Palm Springs Art Museum we project the slide shows from 4 photographers leading to the selection of the ultimate winner. Prizes are awarded to the finalists. The winner receives special gifts from Canon, WD and other of the festival sponsors. We charge NO-FEE to submit your show – so don’t wait! Click HERE to get full details. _______________________________________________________ 2012 SEMINAR PROGRAM The Canon Digital SLR System X-Rite Presents: Understanding Color Spaces, Profiles and Calibration with Mac Holbert Social Media Marketing: Put Facebook, Google+, Twitter & Linked-in to Work for You Final Cut Pro: How to Mix Motion, Stills & Audio into Short Films Seeing the World Through a Leica Rangefinder Viewfinder Lightroom 3: The Lightroom Develop Module from Top to Bottom with George Jardine Archive it Now! Preserving Your Photographic Legacy Mastering the Essential Photoshop Tools: Harness the Power of Photoshop CS5 with Ben Wilmore The Aperture 3 Primer Photo Book Publishing: How to Get Your Photobook Published Digital Workflow for Fine Printing with Mac Holbert Is it Necessary to to Learn to Shoot Motion to Keep my Clients & Get New Business? Finding Your Audience with Mary Virginia Swanson Silver Effex Pro 2: Fine Art Black & White with Janice Wendt ASMP Presents: What Every Artist Should Know About Copyright & Releases with Susan Carr & Richard Kelly ASMP dbBestflow Presents: DAM! Digital Asset Management: with Peter Krogh _______________________________________________________ Come and join the community – meet like-minded people, exchange ideas, keep your work fresh and exciting. Were about the passion for photography. These are exciting times! Call us at 1-800 928 8314 for more information or go directly to our website at www.palmspringsphotofestival.com. Courses fill quickly so REGISTER ONLINE NOW or call us at 1-800 928-8314 for further information today. See you in the desert!

This email was sent to FERNANDOCRUZ@FOTOGRAFIACOLOMBIANA.COM. To ensure that you continue receiving our emails, please add us to your address book or safe list. manage your preferences | opt out using TrueRemove® Got this as a forward? Sign up to receive our future emails. powered by

http://www.spanishandorrancircuit.com/

El circuito está abierto a todos los aficionados y profesionales de todo el mundo.

Este circuito internacional goza del patrocinio de la FIAP, de la PSA, de la ISF, de la CEF y de FCF y, por tanto, se regirá por sus respectivas normas y será puntuable para la obtención de sus títulos honoríficos.

1. El tema será libre en las secciones: (A) monocromo y (B) color. La sección C, sólo admitirá temas relacionados con el tema viajes. Se admitirá cualquier técnica o tratamiento en las tres secciones.
2. Las imágenes deben ser presentadas exclusivamente en formato digital, de manera on-line en la página del circuito: www.spanishandorrancircuit.com. Las imágenes se podrán subir a la web desde el 15/03/2012 hasta el 28/06/2012.
3. El número máximo de obras a presentar no excederá de cuatro en cada sección.
4. Las imágenes deben estar en formato JPEG, siendo el tamaño del lado mayor de 1.024 pixels si la imagen es horizontal y 768 pixels si la imagen es vertical, con una resolución de 72 ppp.
5. Los autores se responsabilizarán de que no existan derechos de terceros y de toda reclamación por derechos de imagen.
6. Las obras recibidas sin el pago de los derechos y el formulario de inscripción no serán juzgadas.
7. La organización no se hace responsable de los deterioros o extravíos que pudieran sufrir los archivos, los cuales serán tratados con el mayor esmero.
8. Los participantes autorizan al  “3rd Spanish Andorran Iberoamerican Digital Circuit  2.012″ la reproducción de sus obras para fines  de promoción del concurso en particular y de sus actividades en general, así como para la edición de un catálogo sea cual sea el soporte, impreso, CD, WEB, etc, haciendo constar en todo momento el nombre del autor.
9. El pago se podrá realizar en: Euros (€), USD ($). No se admitirán cheques.
10. El pago sólo se podrá realizar mediante PAY-PAL a la cuenta: contest@spanishandorrancircuit.com .
11. Los menores de 21 años están exentos de pagar los derechos de inscripción. Deberán adjuntar documento acreditativo de su condición de menor.
12. La notificación de los resultados se efectuará por e-mail.
13. Cada participante recibirá un catálogo en CD.
14. La decisión del jurado será inapelable.
15. La simple participación en el circuito implica la total aceptación de estas bases.
16. No se admitirán fotos que hayan sido premiadas o seleccionadas anteriormente en cualquiera de las ediciones anteriores de los 4 concursos.

Precio único para todo el circuito 50€ o 70$ (USA Dollar).

Las obras recibidas sin el pago de los derechos de suscripción no serán juzgadas.

NOMBRE DEL ARCHIVO DE LAS IMÁGENES.

El circuito consta de tres secciones:

A. Monocromo
B. Color
C. Viajes

La letra de cada sección debe formar parte del nombre del archivo.

Su apellido y la inicial de su nombre formarán la primera parte del nombre del archivo, como se muestra a continuación:

apellido-X-# # # #-YZ.jpg

El apellido se refiere a su primer apellido.
La” X” se refiere a la inicial de su nombre principal.
# # # #  son los cuatro últimos dígitos de su número de teléfono.
“Y” es la letra de la sección (A, B, C)
“Z” es el número de la imagen (1,2,3 o 4)

Ejemplo:

Las siguientes cuatro imágenes se presentan en la Sección B, por Miguel Castro y su nº de teléfono es  123456789, luego los archivos serán:

castro-m-6789-B1.jpg
castro-m-6789-B2.jpg
castro-m-6789-B3.jpg
castro-m-6789-B4.jpg

INICIAMOS EL TALLER EL PRÓXIMO  viernes 20 de enero de 2012

El retrato es quizás la técnica de mayores exigencias a nivel del conocimiento del manejo de la luz.
Aquí aprenderá los diferentes sistemas de iluminación para el retrato natural, sicológico, anímico, dramático, conmovedor, teatral, o solemne. Además aprenderá la difícil técnica de la fotografía de desnudo, enfocada hacia lo artístico. Dos modelos profesionales trabajaran con usted para que pueda practicar a fondo este estilo tan apreciado por todos los fotógrafos del mundo.

Duración :8 sesiones/3 horas cada una.
Intensidad: 2 días por semana
3 HORAS CLASE
Costo: 500.000

Informes:

“Juan José Carrillo” <carrillo.juanjose@gmail.com>

Cel 3134649343

PBX: (1)2456803
direccionacademica@skylightcollege.com

http://www.skylightcollege.com/2010/09/taller-retrato-y-desnudo-artistico.html

Taller de Escritura de Guión  para Cine y Televisión

¡Crear el mejor guión! Ese es el deseo de todo guionista. Este taller te brindará las herramientas para lograrlo. Profesor: Jairo Estrada, guionista-productor. Ganador del premio India Catalina 2010, nominado al premio India Catalina 2008. Fechas de Inicio. Miércoles 1 de Febrero de 2012 Fecha Limite para matrícula:  Lunes 30 de Enero de 2012 Intensidad: 2 meses x 63 horas teóricas Valor: $390.000 mensuales, $750.000 pagando los 2 meses de contado. Duración: 9 horas semanales x 7 semanas Horario:  Lunes, miércoles y viernes 9 a 12m o 2 a 5p.m. o 6 a 9 pm. Resultado final:  Un guión de cortometraje.

Taller de Producción Ejecutiva  para Cine y Televisión

El taller tiene un principio: sin un buen productor no hay una buena película. Y para esto te preparará este curso. Conocerás las fases de la producción, la industria, los nuevos formatos, los diferentes rangos de productor, el manejo económico, la promoción, los términos legales, el circuito de exhibición y la distribución, entre otros temas. Fecha de inicio: Jueves 2 de Febrero de 2012 Fecha Limite para matrícula:  Lunes 30 de Enero de 2012 Duración: 2 meses, 42 horas teóricas y 12 horas prácticas. Intensidad: 6 Horas semanales x 7 semanas y 12 horas prácticas, distribuidas en 1 clase-rodaje de un cortometraje. Valor: $450.000 mensuales u 850.000 pagando los 2 meses de contado.

Sede A: Cll 39A No. 21-58 Park Way Tel: 323 3864 / 696 7025 / 300 221 9760Sede B: Cll 45 No. 14-43 Tel: 288 4943 – 752 6396 300 414 8471 Encuéntranos en:

Talleres de Cine y Televisión 

Using My Camera For Good

video

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I volunteered for the Davis Phinney Foundation and photographed the USA Pro Cycling Challenge to help raise awareness of their challenge grant. I continue to help them by donating 1/2 of all my sales of my iPad Wallpapers and calendars.

Pursuing My Passion For Americana
My original intention was to set out an do a photo-essay on the abandoned interstates of the plains. However, what it actually became was making a movie of the American Southwest. I also started a YouTube channel where you can find all my cinematic work. Click Here.

Here is a quick look at 2011.

2011 was a year for evolution. There is a very visible evolution in the fact we have expanded our social media presence, rolled out a new look, and even changed the domain name back to where I started in 2001. There is also a subtle evolution that you may or may not have noticed. Unique photos, stories, and a bit of levity served up every Monday through Friday is still the mainstay here, but I have begun to seek out the untold stories of the world and do my best to share them. This year alone we discovered the story of The American Cowboy, Crescent Valley, a Southern California Icon, the USA Pro Cycling Challenge, and a Big Fish Story. I really hope everyone enjoyed them. I think 2012 and the future of Hossedia.com is summed up in my post from earlier this year.

The Way I See Things

The world is a beautiful place full of wonderful people. Seeking out its beauty and sharing it with others is what I do. If only to encourage others to do the same. There is something transcendent about art and beauty. It’s a common ground that breaks down the barriers that divide us. I’m a dreamer, but in my heart of hearts, I know if we all recognize and share the beauty of this world, we will make it a better place.

Random Milestones of 2011

• If you are a regular here, you saw over 1000 images this year. That number blows my mind.
• My iPhone Photography Tutorial has taught over 50,000 people!
• We are averaging close to 11,000 visitors a month. Our biggest month was 16,000 visitors.
• I consolidated my portfolio. Click here to view it.
• Our first ‘Good Newsletter’ went out. The next one is going out next week. Sign up here if you haven’t already.
• I lost a tripod.
• Surprisingly, I didn’t loose any lens caps.
• I shot 37,303 images. 10,287 were with my nikon 28-300 lens.
• I actually got to meet several photographers who are good friends now. Rick Louie,Will Swetnam, Dave Wilson, Jim Nix, Alex Suarez , Hau Co, and Richard Hawkins.

The Guests Of 2011

This year I sought out some of my favorite photographers and asked them to share a bit of their world with us. The series was a great success, and you can find all their posts here.

Bob Lussier

Whereabouts:

• Bob’s Post
• Website: http://www.lussierphoto.com/

Mike Olbinski

Whereabouts:

• Mike’s Post
• Website: http://www.mikeolbinski.com

Dave Wilson

Whereabouts:

• Dave’s Post
• Website: http://davewilsonphotography.com/

Jeffrey K. Edwards (aka Doc)

Whereabouts:

• Doc’s Post
• Website: http://www.jeffreykedwards.com/

Matt Wolin

Whereabouts:

• Matt’s Post
• Website: http://www.shutterrunner.com/

Rick Young

Whereabouts:

• Rick’s Post
• Website: http://www.ryoungfoto.com/

Jim Denham

Whereabouts:

• Jim’s Post
• Website: http://www.jimdenhamphotography.com/

2012,Cursos Especializados de Fotografía en Zona Cinco

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Curso de Fotografía de Moda El objetivo principal del Curso de Fotografía de Moda es capacitarte con un alto nivel técnico y artístico. Brindándote un espacio de creatividad y sensibilización hacia el fascinante mundo de la fotografía de moda.Estudiarás historia de la fotografía de moda, técnicas de iluminación, dirección de arte, maquillaje, vestuarismo, estética. Y desarrollarás habilidades a través de talleres teórico prácticos.Como alumno aplicarás photoshop para la optimización de tus imágenes y la elaboración de tu portafolio. Dicho portafolio será expuesto y evaluado por especialistas en fotografía de moda. PREREQUISITO: Aprobar exámen de conocimientos técnicos. *Nota: el examen lo debe presentar mínimo 7 días antes del inicio del curso. Debe acercarse a nuestras sedes entre las 9 am y las 7 pm de lunes a viernes y sábados de 9 am a 3 pm.Fecha de inicio: Martes 24 de Enero Fecha límite de matrícula: Viernes 20 de Enero Duración: 2 meses y medio Intensidad: 9 horas semanales, (42 horas por nivel – 2 niveles) Valor: $500.000 por nivel, (2 niveles) $1.000.000 $960.000 pago de contado x 2 niveles Horario: martes, jueves y sábado 9am a 12m o Martes y Jueves de 6pm a 9 pm y Sábado de 1pm a 4pm  Curso de Fotografía Publicitaria A través de la teoría, de ejercicios de campo, del análisis de fotografías icónicas y de tu manera de trabajar, la meta del taller será proporcionarte bases sólidas acerca de los principios, la técnica y el uso de las herramientas esenciales para el desarrollo y ejecución de una buena foto historia. Profesor: Henri Quiroga PREREQUISITO: Aprobar exámen de conocimientos técnicos. *Nota: el examen lo debe presentar mínimo 7 días antes del inicio del curso. Debe acercarse a nuestras sedes entre las 9 am y las 7 pm de lunes a viernes y sábados de 9 am a 3 pm.Fechas de inicio 1er Nivel: Martes 24 de Enero Fecha límite de matrícula: Viernes 20 de Enero Horario 1er nivel: 9 a 12m  Fecha de inicio 2do Nivel: Martes 24 de Enero  Fecha límite de matrícula: Viernes 20 de Enero Horario 2do nivel: 6 a 9 pm Duración: 2 meses (mes por nivel) Intensidad: 6 horas semanales Valor: $450.000 por nivel Horario: martes y jueves. Taller de Fotografía Artística Este taller busca que el alumno se introduzca en un ambiente creativo, teórico y práctico que le de herramientas tanto para entender la fotografía dentro del arte, como para construir una serie fotográfica artística. El desarrollo posterior de las ideas del taller podrá igualmente estimular una obra que vaya más allá de la imagen y exprese ideas, conceptos o puntos de vista que le son propios a cada fotógrafo. A su vez, los alumnos crearán una serie fotográfica desarrollada a partir de ideas propias que serán discutidas, analizadas y expuestas a lo largo del taller. Profesor: Carolina MontejoFecha de inicio: Martes 24 de Enero Fecha límite de matrícula: Viernes 20 de Enero Intensidad: 6 horas semanales x 4 semanas. Valor: $350.000 Incluye Equipos Horario: martes y jueves de 9 a 12m o 6 a 9 pm. Taller de Fotografía Urbana El taller indaga por condiciones simbólicas, racionales y de producción muy similares a las experimentadas y analizadas en el proceso fotográfico expresado en la instalación London, gap my mind in 360º. Profesor: Santiago Escobar JaramilloFecha de inicio: Martes 24 de EneroFecha límite de matrícula: Viernes 20 de Enero Duración: 5 sesiones Valor: $310.000 Horario: 6:00 a 9:00 pm Lugar: SEDE B Calle 45 N 14- 43 Taller de Fotoreportaje Técnica y Narrativa A través de la teoría, de ejercicios de campo, del análisis de fotografías icónicas y de tu manera de trabajar, la meta del taller será proporcionarte bases sólidas acerca de los principios, la técnica y el uso de las herramientas esenciales para el desarrollo y ejecución de una buena foto historia. Profesor: Camilo RozoFecha de inicio: Jueves 2 de febreroFecha límite de matrícula: Martes 31 de Enero Duración: 4 semanas (1 mes) Intensidad: 6 horas semanales. Valor: $350.000 Horario: martes y jueves 9am a 12m o de 6pm a 9pm Curso de Ilustración Digital “Todo lo que vemos puede ser más mágico aún.” En un mundo cada vez más virtual y visual, la expresión gráfica demanda espacios y calidad. Es innegable que con las nuevas tecnologías, los celulares y las tablets serán las nuevas ventanas al arte y la expresión.La ilustración digital tiene un campo de acción bastante amplio, como el trabajo editorial, producción audiovisual, webs, multimedias, arte, periodismo y publicidad, entre otros. Profesor: Juan Pablo Valencia  Fecha de inicio: Miércoles 25 de Enero Fecha límite de matrícula: Lunes 23 de Enero Duración: 1 mes cada nivel Intensidad: 4 horas semanales, 20 horas mensuales x 2 niveles Valor: $350.000 x nivel Horario: Miércoles y viernes de 4 a 6pm Se trabajará en Photoshop CS5, con plataforma Mac y tablas digitalizadoras Wacon. Taller de Fotonaturaleza en el Jardín Botánico “Taller dirigido a estudiantes interesados en incrementar su nivel técnico y desarrollar su talento y creatividad artística enfocado hacia el área de la Fotografía de naturaleza. Profesor: Herminso Ruiz Ruiz Fechas de Inicio. Sábado 18 de Febrero de 2012 Fecha límite de matrícula: Miércoles 16 de Febrero Duración: 2 horas de capacitación en la sede B Calle 45 No 14-43. 6 horas de salida de campo en el Jardín Botánico Jose Celestino Mutis Valor: $65.000 Sede A: Cll 39A No. 21-58 Park Way Tel: 323 3864 / 696 7025 / 300 221 9760Sede B: Cll 45 No. 14-43 Tel: 288 4943 – 752 6396 300 414 8471 Encuéntranos en:

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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.