ViteVu. La fabrique des images. Droit et Photographie | Blog consacré aux aspects juridiques de la photographie. Blog photo - Magazine en ligne - artistique > Focale Alternative. Aujourd’hui, je vais changer mes habitudes lorsque je développe une pellicule. Comme d’habitude, je passerai par les différentes étapes de développement déjà citées sur ce site mais, pour la première fois, je vais utiliser un bain d’arrêt entre le révélateur et le fixateur. Continue la lecture Il existe sur le marché de nombreux révélateurs en poudre et liquide. L’ID-11 de Ilford fait partie de la première catégorie. Philippe Bachelier stipule que l’on classe les révélateurs autour de quatre critères qui vont conditionner la qualité de l’image : le grain, l’acutance, l’effet compensateur et l’exploitation de la sensibilité. Continue la lecture « … Le film de haute sensibilité possède une plus grande gamme de gris qu’un film moins sensible… Qui dit gris sur le film signifie gris sur le papier.
Or, tout ceux qui font du labo savent qu’utiliser une gradation dure (filtre 3.5 à 5) fait apparaître la moindre poussière sur la photo. Référence : Danny Dulieu Continue la lecture Lien du site. Phototrend, le blog photo. La Boîte à Photos (LaBoiteAPhotos) Photographers on tumblr. Curated inspiration: photography. Check out Siebe's studio and photo catalog here. George Jardine on Adobe Photoshop, Lightroom and Digital Photography — Learning Lightroom, and Digital Asset Management for Photographers. Photograph © George A.
Jardine I originally created this video series because the workflow is incredibly powerful… once you understand it, and because I really wanted to dig into every nook and cranny of complexity that the basic feature allows. Besides, Lightroom’s integration with Photoshop is only half of the story. In addition to that this series gives you a pretty deep dive on the type of compositing and masking that can only be done in Photoshop, not to mention some basic instruction on using Virtual Copies. Having said all that, if you are one of the few who will watch these videos all the way through, there are one or two things you might watch out for.
One would be that Smart Object layers in PS finally do allow you to link to a raw source file, rather than suffering through the necessity of embedding the entire thing into the RGB file. A much larger problem is a persistent bug that can cause Lightroom to reset an RGB file that has been taken to PS and back. What is not the art photograph. In January of 1982, Alan Bowness then director of the Tate organisation (1980-1988), was interviewed in Creative Camera magazine. He was questioned with regards to the then single gallery’s position on the exhibition of photography there. To answer to the perceived lack of support of the medium he answered, “…you have to be an artist and not only a photographer to have your work in the Tate”. This is a generalizing statement indicative of a certain mentality that gives partiality to all forms of art before photography. The question I wish to ask in this essay is what is this photograph, that isn’t art?
What is this condition that creating this exclusivity? Barbara Hepworth Looking at the evidence Bowness’ dedication to established forms of art is not debatable in any way. Bill Brandt - Hampstead, London (1956) Richard Long - A Line In Ireland (1974) Conversely, he referred to the work of artist Richard Long, who was exhibited at the Tate. Keith Arnatt - Self Burial (1969)