Workshop: Aesthetics, Craft, and Care of the Fine Art Digital Print

The Image Permanence Institute (IPI), Rochester Institute of Technology, Rochester, NY, is presenting a four-day workshop on the Aesthetics, Craft, and Care of the Fine Art Digital Print. The workshop will be held on August 23 – 26, 2011 in Rochester, NY. The cost is $1,495 for early registrants.

Who should attend this workshop?

• Fine Art Printmakers
• Contemporary Photographers
• Contemporary Photograph Collectors
• Museum and Archive Professionals
• Photograph Conservators
• Photography Educators

Workshop Details

In a small group setting, this lecture and hands-on style workshop will teach participants the unique aesthetics of the fine art digital print and help them understand their distinguishing characteristics. Presentation of the history and application of digital print technologies will be followed by demonstrations of the fine art inkjet printing process. Additional topics include basic color management theory and the use of various tools and software currently available for monitor and printer calibration. A discussion on how digital print processes are currently being used for fine art reproduction will also be provided. Print samples will illustrate the consequence of different software settings and common image workflow mistakes. Print identification techniques will be taught through close examination of didactic sample sets and the use of Graphics Atlas, IPI's print characterization website. Participants will learn about physical and chemical stability issues and receive practical advice on handling, storage enclosures, and proper display and storage conditions.

To learn more or to register for the workshop please go to:www.imagepermanenceinstitute.org/imaging/fine-art-digital-print-workshop

If you have any questions contact:

Patti Ford
Email: pafpph@rit.edu
Phone: (585) 475-2843

TALLER EN ATELIERETAGUARDIA. MAYO 2011

© Rebecca Mutell

INTRODUCCIÓN AL COLODIÓN HÚMEDO

A cargo de ATELIERETAGUARDIA,

13, 14 y 15 de mayo de 2011

El colodión húmedo es el proceso más emblemático de la segunda mitad del siglo XIX. Con él se documentaron expediciones, obras de Arquitectura e Ingeniería y conflictos armados como la Guerra de Secesión americana, al tiempo que hizo posible el retrato para el gran público. En el siglo XXI el progresivo interés por la recuperación de los procedimientos fotográficos primitivos (daguerrotipo, calotipo, colodión, papel salado, goma bicromatada…) está llevando a un número creciente de artistas a utilizar dichas técnicas; fotógrafos como Quinn Jacobson, Sally Mann o Jayne Hinds Bidaut entre otros, emplean el colodión para la realización de sus proyectos. Actualemente trabajar con el colodión no sólo es abrir una ventana hacia otro tiempo sino
una manera apasionante de crear.

CONTENIDOS: Introducción histórica y estética de los procesos fotográficos primitivos. Visionado y manipulación de material original de época (1850-1890): cámaras, ópticas, daguerrotipos, ferrotipos, ambrotipos y manuales técnicos. Utilización de biblio-grafía especializada: monografías, catálogos, reprints... Preparación de la química. Manipulación, procesado y acabado de los materiales. Realización de ambrotipos (imágenes positivas sobre vidrio) y ferrotipos (imágenes positivas sobre metal) por parte de cada alumno. Valoración y análisis de los resultados.
El taller incluye un dossier sobre el proceso del colodión húmedo, productos químicos y material necesario para los tres días.

Este taller está dirigido a estudiantes, fotógrafos, responsables y conservadores de archivos y museos, coleccionistas de fotografía del s. XIX y en general, a todos aquellos interesados en la historia de la fotografía.

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Fechas: 13, 14 y 15 de mayo de 2011 · Horario: Viernes, Sábado y Domingo de 10 a 14 h y de 16 a 18 h · Plazas: 12 personas · Lugar:Estudio ATELIERETAGUARDIA · Precio: 295 € · Matrícula: La matrícula se realizará entre los días 10 de enero y 29 de abril de 2011 · Inscripciones: http://atelieretaguardia.com/weblog/ · info@atelieretaguardia.com

Evaluation procedure for International Students

Universitá Ca'Foscari Venezia

A new admission procedure for international students has been defined starting from the academic year 2011/2012.
In particular, international students intending to enrol in First or Second Cycle Degree Programmes can ask for the evaluation of their qualification and school career before starting the official enrolment procedure.

The evaluation procedure is available starting from March 1st, 2011 and entails the electronic delivery of all of the required documents: such documents will be then assessed by the Welcome and Enrolment Office and sent to the Teaching Committees of the Degree Programmes involved.

Students will then receive notice of their full or provisional admission to the chosen Degree Programmes.

Degree Programmes
Necessary requirements
Evaluation procedure
Documents required
Deadlines
Full/provisional admission
Scholarships
University fees
Accommodation


Degree Programmes
International students can apply for evaluation of no more than two Degree Programmes.

Click here to visit the Educational Programmes of Ca’ Foscari University.

Necessary requirements
For admission to a Degree Programme, applicants shall be equipped with a number of requirements (qualification, schooling years), as described in the specific website page.

Evaluation procedure
The evaluation procedure includes the following steps:

online registration procedure;
filling in of the evaluation application by entering - in the Reserved Area of the university website - the username and the password given at the end of the online registration procedure and following the path: Online Student Services - ESSE3 > Evaluation Test > Foreign students' evaluation - First Cycle Degree or Second Cycle Degree.
The university will consider only applications which have been carried out according to the procedure provided for and equipped with all of the required documents.

Documents required
At the end of the evaluation application, students are required to enclose the following documents:

European curriculum vitae format;
certificate including personal data and any school/academic qualifications; in case of evaluation for a Second Cycle Degree Programme, transcript of records and relevant programmes will be required;
motivation letter.
A language certificate (at least B1 level) of English or Italian is advisable. Applicants who are native Italian or English speakers do not need to produce any certificate. Please be advised that applicants who are not provided with the Italian language certificate can take the Italian language test to be held in early September.

For evaluation purposes, the applicant can also produce a self-certificate of any required information. Yet, the original certificates shall be submitted upon enrolment.

Deadlines
For non-EU students residing abroad:

evaluation procedure: from March 1st, 2011 to April 30th, 2011;
notice of full/provisional admission: by April 15th for those having completed the evaluation procedure by March 30th; by May 15th for those having completed the evaluation procedure by April 30th;
submission of the pre-enrolment application to the Italian Diplomatic Delegation: starting from May 2011. Deadlines for submission are fixed by each Embassy/Consulate.
International students not included in the above-mentioned category may submit their evaluation application from March 1st to August 31st, 2011. Applications will be taken into consideration monthly. Students will receive notice of their full/provisional admission by the middle of the month following their application submission.

Full/provisional admission
By the evaluation procedure international students will be made aware of the following:

if from a learning point of view their school career allows admission to the chosen Degree Programme;
if documents submitted, school/academic qualifications and schooling years allow enrolment in the chosen Degree Programme.
At the end of the evaluation procedure, the Welcome and Enrolment Office will communicate the following information to the applicant by email:

his/her full admission to the chosen Degree Programme: in this case administrative documents and school career have been successfully evaluated and the applicant can enrol according to the procedures and the deadlines indicated in the specific website page;
his/her provisional admission: in this case the reasons why the applicant is not allowed to directly enrol in the chosen Degree Programme will be specified.
Note: in case of any successful evaluation, notice of admission to the Degree Programme does not automatically entail the applicant’s enrolment. Enrolment is anyway subject to submission of all of the required documents, as specified at the end of the evaluation procedure.

Scholarships
International students who will enrol in a First or Second Cycle Degree Programme after completing the above-mentioned evaluation procedure can be awarded scholarships amounting to EUR 2,000.00, along with university fees reduction for the first year.

Students can take advantage of such benefits only if evaluation procedure is carried out according to the described procedure. In order to be awarded the scholarship, students shall enrol at Ca’ Foscari University and obtain a fixed number of university credits during the first year. The call for applications for such scholarships will be published at the end of March 2011.

University fees
University and tuition fees shall be paid in two instalments.

Any relevant information can be found in the webpages concerning the 2011/2012 university fees as for First Cycle Degree Programmes or Second Cycle Degree Programmes (Italian webpages; English version coming soon).

Accommodation
In order to get accommodation in Venice, students who will enrol at Ca’ Foscari University can take advantage of the service offered by the Housing Office of the University (housing@unive.it).

Research on the Conservation of Photographs

Research on the Conservation of Photographs

	More than 100 different photographic processes have been tested, developed, and used since the beginning of photography. Photographs produced using these processes differ in chemical composition, in internal structure, or in both. Chemical analysis of photographs is a major tool for identification of individual photographic processes. Photo: Dusan Stulik.

Project Objectives
The research on the conservation of photographs project seeks to advance the identification of photographs and photographic processes beyond optical microscopy—the current standard methodology for identification of photographs. Through the systematic use of instrumental and analytical methods used in art conservation practice, and through newly developed advanced techniques, the project aims to identify major photographic processes and important process variants, and to provide greater insight into processing chemistry and postprocessing treatment of photographs.

The objectives of the project are:

• An in-depth review of scientific and conservation literature related to the identification of photographs and photographic processes;
• Development of scientific methodologies for instrumental and analytical characterization of photographs and photographic material;
• Applied research;
• Preparation of an atlas of analytical signatures of different photographic processes to aid in the identification of photographic materials;
• Creation of a practical, instrument-based decision tree for the identification of photographic processes, their variants, and post processing treatment of photographs and photographic material.

Project Overview
As chemical (classical) photography is increasingly replaced with digital photographic technology, there is a danger that this shift will trigger a decrease in scientific research and knowledge regarding chemical photography. This could result in the loss of crucial information about past artistic, commercial, and experimental photographic processes and technologies.

	Jim Reilly (left) from the IPI and Bertrand Lavédrine from the CRCDG during a 2001 project team meeting at the CRCDG in Paris. Project meetings serve as important venues for exchanges of information on research conducted at participating institutions, for assessing the progress of the project, and for monitoring project activities. Photo: Dusan Stulik.

In response to these concerns, the GCI and the Image Permanence Institute (IPI) in Rochester, New York, organized a meeting of experts in 2000 to discuss identification of the most important research issues of conservation of photographs and photographic material. The consensus among participants was that there was a need for the development of an advanced methodology to identify photographs and photographic materials as a prerequisite for further development of treatment and preventive treatment of photographic material.

Following the experts meeting in Rochester, the GCI conducted a feasibility study to define the methods, structure, and goals of the project. With the successful completion of the feasibility study the GCI, the IPI, the Centre de recherches sur la conservation des documents graphiques (CRCDG), Paris and the Department of Chemistry at California State University, Northridge (CSUN) launched a large scale collaborative research project.

Since the start of the project a number of other institutions and individual collaborators have joined different segments of the project ranging from the development of analytical methodology to application of project results in solving important problems of art conservation and art historical research related to photographs and photographic collections.

The project team partners are working both independently and collaboratively on several areas of research, and meet regularly to exchange ideas and results.

Peter Krause ha fallecido

Date: 21 Jan 2011
From: Barbara N. Brown
Subject: A death

We only recently learned the sad news of the death of Peter Krause, who was truly one of our Pioneers of Photography.

Peter Krause, age 91, died in Clearwater, Florida, on Wednesday, August 25, 2010. Born March 10, 1919, in Vienna, Austria, he came to the United States in 1938 with his siblings to join his father, his mother having died when Peter was quite young. Drafted when the US entered World War II, Peter served as a Technical Sergeant in the US Army Air Corps Geodetic Control Squadron until the end of the war. He spent his career in the photographic industry, beginning in
Binghamton, NY at Agfa-Ansco, Co. and then moving to Ciba, where he became President of Ilford, USA.

Reviewing Peter's career takes us through an important era in the history of photography. He was the Assistant Technical Director of Pavelle Color, Inc. in 1946 to 1954. He then worked at Ansco in Binghamton, NY (which later became GAF) as Manager of Quality Control and Technical Services, then Director of Manufacturing, and General Manager of the European Operations in 1954 to 1968. Finally, Peter joined Ciba (later Ciba-Geigy) that acquired Ilford, Ltd. to become President of Ilford, Inc.

He retired ten years later in 1978, although this was not the end of his professional contributions. After leaving Ilford, Peter became a consultant in the photographic industry, working for all the major manufacturers and was well known in particular for his work on color stability and conservation. He consulted regularly for major art museums, periodically wrote columns for Modern Photography, and Popular Photography, and was a founding co-editor of Photofinishing
News. His editing acumen extended to the journal, Photographic Science and Engineering, one of the past technical journals of the Society of Photographic Scientists and Engineers (SPSE); later, the Society for Imaging Science & Technology (IS&T). He was also an
active member of several ANSI (American National Standards Institute) committees as well as ISO (International Standards Organization) working groups.

In the field of photograph conservation, he was a frequent source of information especially with regard to color photographs. Few people knew more about Cibachrome/Ilfochrome materials and technology, and chromogenic color technology than Peter. He is well known for his role as technical advisor when National Geographic had an outbreak of redox blemishes among their autochrome plates in the mid-1980s. For more information see Krause, P. "Preservation of Autochrome Plates in the Collection of the National Geographic Society," Journal of Imaging Science 29(5): 182-192 (1985).)

Peter served as an excellent source of information for conservators over many years. His research, vast knowledge, and engaging presence inspired many emerging conservators. In thanks and recognition for his long relationship with and contributions to the photography community and photograph conservation, PMG honored Peter Krause at the 2007 Rochester joint Winter Meeting of PMG and ICOM-CC Photographic Materials Working Group.

An avid tennis player and skier, Peter also was active in civic life, serving on the school board of Northern Highlands Regional High School in Allendale, NJ for many years. Peter is survived by
his wife of 53 years, Joan Krause of Clearwater, Florida, and his four children and their spouses, and four grand-children and two great-grand-children, as well as by nieces and nephews and their families. His parents and his three siblings preceded him in death.

At Peter's request, no services were held. Memorial contributions can be made to St Jude's Children Hospital. For those of you who would like to send a card to his widow, Joan, know that it would be greatly appreciated. She would treasure hearing about Peter and his influence on so many.

Joan Krause
Regency Oaks Boulevard
Apt. M202
Clearwater, FL 33759
joan.krause [at] yahoo__com

Deepest condolences to Joan Krause and family,

Barbara Brown,
Chair - AIC Photographic Materials Group

With contributions from Doug Nishimura, Nora Kennedy, Debbie Hess
Norris, and Joan Krause and family

CURSOS Y TALLERES EN ATELIERETAGUARDIA

© LLorenç Raich

FEBRERO 2011

FOTOGRAFÍA Y CREACIÓN

A cargo de Llorenç Raich

Inicio: 21 de febrero de 2011

Llorenç Raich, profesor del IEFC, propone un conocimiento práctico sobre el hecho creativo aplicado a la fotografía. A partir de los temas como La génesis de la creación, Tradición y continuidad, La esencia del lenguaje, La realidad como medio, Estructura de la obra fotográfica, Arte y pensamiento clásico y la Fotografía contemporánea, el alumno podrá desarrollar los temas clásicos y actuales del lenguaje fotográfico.

La experiencia directa como medio para encontrar un espacio expresivo y estético propio. Metodología: propuestas de trabajo sobre los contenidos del taller y conclusiones personalizadas sobre los resultados.

CONTENIDOS: Introducción. La génesis de la creación. Tradición y continuidad. Lenguaje y voz propia. Influencias y mirada propia. Forma y contenido. La esencia del lenguaje. Palabra e imagen. Arte del espacio, arte del tiempo. La realidad como medio. Percepción. Equivalencia. Apercepción. Indicio. Realismo. Simbolismo. Metáfora. Abstracción. Estructura de la obra fotográfica. Obra única. La serie. El sentido de la unidad. El sentido narrativo. Arte y pensamiento clásico. La creación y la belleza. La creación y la perfección. Fina-lidad de la obra artística. Fotografía contemporánea. Modernidad. Posmodernidad. Deconstrucción. Filosofía y sociedad como referentes. El lenguaje como fin.

El curso está dirigido a personas con conocimientos básicos sobre técnica y géneros fotográficos, que necesiten establecer criterios personales de creación fotográfica.

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Clases: 10 sesiones quincenales de 3 horas · Horario: Lunes de 18.30 a 21.30 h · Plazas: 12 plazas · Lugar: EstudioATELIERETAGUARDIA · Duración: De febrero a junio de 2011 · Inicio: 21 de febrero de 2011 · Precio: 325€ · Matrícula: La matrícula se realizará entre los días 10 de enero y 14 de febrero · Inscripciones: http://atelieretaguardia.com/weblog/ ·info@atelieretaguardia.com

TALLER

©MarcosLópez

EL ADN DE LA FOTOGRAFÍA Gramáticas de la creación y lainterpretación A cargo deAlejandro Castellote,comisario independiente 25, 26 y 27 de febrero de 2011

El final del siglo XX y el comienzo del XXI han hecho visibles otras maneras de mirar el mundo divergentes de la europea y norteamericana. Pero este cambio de paradigma no supone el abandono de toda regla, como ha temido siempre el racio-nalismo protestante, también los nuevos dialectos fotográficos tienen una gramática y una sintaxis. Y esas nuevas gramáticas, que exploran nuevos territorios semánticos, han adquirido dignidad y visibilidad en un tiempo donde la hegemonía de la visión occidental ha perdido su estatus de poder. CONTENIDOS: Un análisis de la información “genética” que forma parte de las primeras fotografías: su funcionamiento, su desarrollo y la transmisión hereditaria que esos patrones han generado desde el siglo XIX. Una puesta en cuestión de los métodos de representación en la historia de la fotografía, revisados y reinterpretados a partir de los contextos geográficos, culturales, sociales, económicos y políticos de los fotógrafos y sus países de procedencia. El taller será ilustrado con proyección de imágenes de fotógrafos de todo el mundo, con especial énfasis hacia Latinoamérica, Asia, África y Países árabes. Al final del mismo tendrá lugar un visionado de portafolios y se debatirá sobre las estrategias de los fotógrafos para la edición y difusión de su obra. El curso está dirigido principalmente a estudiantes, fotógrafos, comisarios y a todos aquellos interesados en la creación, la reflexión y la gestión del medio fotográfico. Alejandro Castellote. Madrid, 1959. En 1982 comienza a trabajar como comisario de fotografía. Desde 1985 hasta 1996 ha sido director del Área de Fotografía del Círculo de Bellas Artes de Madrid, donde ha organizado el Festival Foco (Fotografía Contemporánea en Madrid) en sus 5 ediciones, y ha sido responsable de la programación de exposiciones, talleres, seminarios y otras actividades durante 12 años. En 1987 crea la Sala Minerva de Fotografía para jóvenes autores en el Círculo de Bellas Artes de Madrid. Ha sido director artístico del Festival Internacional de Fotografía PHotoEspaña (Madrid) en sus tres primeras ediciones (1998 a 2000). Desde 2001 a 2004 fue responsable de la sección de fotografía contemporánea en la Editorial Lunwerg, donde publicó entre otros Mapas abiertos. Fotografía Latinoamericana 1991-2002, Perú, viaje al Sol de Juan Manuel Castro Prieto o Silencios Latentes de Manel Esclusa. Ha sido comisario de las tres primeras ediciones del Festival Getxophoto en Getxo (Vizcaya). Es académico correspondiente de la Real Academia de Bellas Artes de San Fernando, Madrid. Escribe habitualmente sobre fotografía, participa en jurados, imparte talleres teóricos y colabora como crítico en diversos medios nacionales y extranjeros. Ha sido asesor de contenidos para la revista C Photo Magazine de Ivory Press, Londres, Reino Unido y ha comisariado la muestra C on Cities para la X Bienal de Arquitectura de Venecia en 2006. En la actualidad trabaja como freelance. Es comisario invitado para Latinoamérica de la Bienal Photoquai que organiza el Musée du Quai Branly de París, comisario invitado para el Festival de Artes Visuales de Lubumbashi, República Democrática del Congo, comisario de la representación española en Seoul Photo, Corea del Sur y profesor en el Master de Fotografía de la Escuela EFTI de Madrid. En 2006 le fue concedido el Premio Bartolomé Ros a la mejor trayectoria profesional en fotografía española. Fechas: 25, 26 y 27 de febrero de 2011 · Horario: Viernes de 17 a 20 h. Sábado y Domingo de 10 a 14 h y de 16 a 19 h · Plazas:20 personas · Lugar: Estudio ATELIERETAGUARDIA · Precio: 195 € · Matrícula: La matrícula se realizará entre los días 10 de enero y 18 de febrero de 2011 · Inscripciones: http://atelieretaguardia.com/weblog/ · info@atelieretaguardia.com

PRÓXIMAMENTE CUANDO 1 + 1 = 3. Experiencias de fotografía compartida. A cargo de Paco Gómez y Juan Valbuena del colectivo NOPHOTO. 12 Y 13 DE MARZO 2011 INTRODUCCIÓN AL COLODIÓN HÚMEDO. A cargo de ATELIERETAGUARDIA. 13, 14 y 15 DE MAYO 2011 TERRITORIOS DEL VER. Recorridos para pensar y representar la ciudad. A cargo de Jordi Bernadó y Martí Llorens. 10, 11 Y 12 DE JUNIO 2011

c. Riereta, 20 bis (2º) · 08001 Barcelona · Tel. 934 429 442 · info@atelieretaguardia.com · www.atelieretaguardia.com · http://atelieretaguardia.com/weblog/ · Facebook

De Encarna Marín

(Corazón.1998)Encarna Marín

Felices fiestas y todo lo mejor para 2011... de corazón.

Que el 2011 no nos arrodille, Encarna...de corazón