Friday, April 27, 2012
Thursday, April 26, 2012
Wednesday, April 25, 2012
Tuesday, April 24, 2012
Monday, April 23, 2012
Information Related to Honda Advertising
The Top 10 Photography Lighting Facts You Should Know
And tips on how you can apply them to your photography.
- By Dan Richards on June 16, 2010
2. The closer the light source, the softer the light. The farther the source, the harder the light. This stands to reason: Move a light closer, and you make it bigger—that is, broader—in relation to your subject. Move it farther away, and you make it relatively smaller, and therefore more narrow. Think about the sun, which is something like 109 times the diameter of the earth—pretty broad! But, at 93 million miles away, it takes up a very small portion of the sky and hence casts very hard light when falling directly on a subject. Tip: When photographing people indoors by available light, move lamps closer to them or vice versa for more flattering light.
 Diffusion scatters light
Photo: Olga Lyubkina (fotolia.com)
3. Diffusion scatters light, essentially making the light source broader and therefore softer.When clouds drift in front of the sun, shadows get less distinct. Add fog, and the shadows disappear. Clouds, overcast skies, and fog act as diffusion—something that scatters the light in many directions. On overcast or foggy days, the entire sky, in effect, becomes a single very broad light source—nature’s softbox.
Tip: Materials such as translucent plastic or white fabric can be used to diffuse a harsh light source. You can place a diffuser in front of an artiflcial light, such as a strobe. Or, if you're in bright sun, use a light tent or white scrim to soften the light falling on your subject.
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Gas Station Photography
Photographs by Jeff Brouws
Sunday, April 22, 2012
Saturday, April 21, 2012
Friday, April 20, 2012
Thursday, April 19, 2012
Wednesday, April 18, 2012
Editorials
- ICON
- DEPARTURES
- NEW YORK MAGAZINE
- TIME MAGAZINE
- CONDE NAST TRAVELER
- FORTUNE
- FAST COMPANY - FORD
- VANITY FAIR - RUTHS WORLD
- NEW YORK TIMES MAGAZINE
- VANITY FAIR - MADOFF'S WORLD
- VANITY FAIR - MAO TO WOW
- VANITY FAIR - THE RISE OF BIG WATER
- VANITY FAIR - INTERACTIVE MAN
- NEW YORK TIMES - PLAY MAGAZINE
- SPREAD ARTCULTURE - CHINA
- SPORTS ILLUSTRATED
- PORTFOLIO MAGAZINE
Click Above Links to View each series
Tuesday, April 17, 2012
Found Objects
Dr. Jeanne S. M. Willette
INNOVATIONS OF DADA: CHANCE
One of the key tasks of Dada was to undermine the foundations of art by eliminating the notions of artistic “talent,” studio training, and academic means of making art, i.e. planning and composing, or in other words, thinking itself. The artists stumbled upon the means of ending traditional art by chance, as it were. The anti-art anti-movement was christened “Dada,” a word discovered supposedly by chance in a German-French dictionary. “Dada” was a nonsense word, more of a sound than a noun. To the artists’ ears, the absurd word/sound seemed “primitive,” like a child’s babbling. “Dada” implied a re-set, a new beginning at zero for art. The ridiculous word reflected the meaningless of the War to End All Wars.
The role of chance became a central experience for the Dada artist and was developed in two different sites, in Paris, before the War when Marcel Duchamp fastened a bicycle wheel to a stool in a chance encounter, and in Zurich when Hans Arp ripped up a failed drawing and saw that the pieces of papers had formed a “composition” on their own. Arp’s gesture born, like Duchamp’s, out of disgust, was close to the Zurich experiments with poème simultané, a poem written for three or more voices, indicating that a work of art has its own organic destiny. Chance destroys the soothing notion of cause following effect and admits anarchy into art making, foregrounding process. Duchamp, even more than Arp, removes the artist’s hand from the process and gives himself over wholly to the randomness of chance. He ceases to make (for a time) and merely “encounters” readymade objects, appropriates these unoriginal artifacts, and anoints them “Readymades.” The original meaning or intended use of the bicycle wheel or the stool is disrupted: one knows intellectually what each object “does” but understands that what Duchamp called “a new thought” has been created.
Whether the process is that of Duchamp arbitrarily encountering manufactured objects and randomly putting them together, or Arp finding that chance could expressive on its own, these gestures rupture the link between art and the artist’s controlled decision making. The results are transformative and unexpected and a work of art that could not have been made according to the rules comes into being, on its own, organically. As Jacques Riviérè noted, “The Dadas consider words only as accidental: they let them happen. Language for them is no longer a means, it is a being.”
The central component of chance is taking one thing out of context and placing it into another context, demonstrating how meaning is fixed to a site and how meaning is unfixed when location is changed. The result is free association—what does the object mean in its new situation? What does this word mean now that it has been torn out of context? Tzara cut words out of newspapers and placed this motley collection into a bag. He then shook the words out of the bag and let them flutter to a surface. The juxtaposition of word-to-word engendered new meanings for the individual words and for the unexpected combination of words brought together by chance. The viewer or the listener or the reader is now in charge of making meaning out of meaninglessness.
For these artists, an important precursor was Stephane Mallarmé, the nineteenth century poet who first investigated the role of chance. His famous poem, Un coup de des n‘abolira le hazard works with the reader’s/viewer’s senses on many levels. First the words are scattered across the many pages of the long poem, changing positions, changes fonts, leaping and fall, tumbling as if the di were rolling uncontrollably across the surface. The reader must follow this random course with active darting eyes, and, more amusingly, the title itself has a nonsense sound: in French de and des sound the same—very close to “da” ”da.” Although the poem was written in 1897, it was not published until after death of Mallarmé in 1914. Although Martin Puchner in Marx, Manifestos, and the Avant-gardes, states that his poetry was read during Dada performances, I am not trying to make a direct link between the Dada artists and Mallarmé, but merely to point to an important precedent and to a similar mind set already in evidence in the concrete poems of Guillaume Apollinaire and in the “words in freedom” of Futurist poetry.
Horses
Horses and humans have an ancient relationship. Asian nomads probably domesticated the first horses some 4,000 years ago, and the animals remained essential to many human societies until the advent of the engine. Horses still hold a place of honor in many cultures, often linked to heroic exploits in war.
There is only one species of domestic horse, but around 400 different breeds that specialize in everything from pulling wagons to racing. All horses are grazers.
While most horses are domestic, others remain wild. Feral horses are the descendents of once-tame animals that have run free for generations. Groups of such horses can be found in many places around the world. Free-roaming North American mustangs, for example, are the descendents of horses brought by Europeans more than 400 years ago.
Wild horses generally gather in groups of 3 to 20 animals. A stallion (mature male) leads the group, which consists of mares (females) and young foals. When young males become colts, at around two years of age, the stallion drives them away. The colts then roam with other young males until they can gather their own band of females.
The Przewalski's horse is the only truly wild horse whose ancestors were never domesticated. Ironically, this stocky, sturdy animal exists today only in captivity. The last wild Przewalski's horse was seen in Mongolia in 1968.
Monday, April 16, 2012
Sunday, April 15, 2012
Saturday, April 14, 2012
Katrina Photography
Hurricane Katrina ... was the costliest hurricane, as well as one of the five deadliest, in the history of the United States. Among recorded Atlantic hurricanes, it was the sixth strongest overall.
Katrina was the costliest storm in United States history - with amounts over $81.2 billion. The death toll was over 1,836.
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