klassisk fotografi

“Kulturens historie har været videregivet gennem fotografering i 200 år”, forklarer galleriejer Johannes Faber, der har specialiseret sig i klassisk fotografi. Fotografiets kunst i den historiske variant går helt tilbage til begyndelsen af 1800-tallet, da Joseph Nicephore Niepce opdagede Heliografi i 1822 gennem sit arbejde med litografi. Fra den dag udviklede fotograferne et bredt spektrum af trends og kunstneriske orienteringer, som ikke rigtig var kategoriseret.

Emnerne var dedikeret til portræt, boudoir, forskellige rapporter om billeder, arkitektur, mode og reklame. I de seneste år fotografering tendens til at ramme overskrifterne ved at være en ultramoderne kunstnerisk medie, samt at være en del af markedet for kunst og kunsthåndværk.

Man behøver blot at minde sig selv om den hurtige prisstigning for Becher-eleverne i 1990’erne og begyndelsen af det 21. Området klassisk fotografi er et andet Collector’s marked til Contemporary området, hvilket resulterer i en traditionel, stabil og langsommere voksende marked tendens. “Det er en rigtig Collector’s scene”, der køber eftertragtede varer, forklarer Johannes Faber, der har drevet et galleri i Wien siden 1983.

god kunst sælger

Stigningen i priserne på gode eksemplarer, som kun sjældent kan bringes ind på markedet “enten gennem død, skilsmisse eller krise” er konstant, rimeligt langsom og svarer til et tal “på 14 til 15 procent om året pr objekt”, ifølge Faber’s observation. I Faber’s ekspertise “der er næppe nogen spekulanter”, så hans konklusion.

Årgange, som blev skudt, og den dygtige udvikling af prøver i hånden er mere eftertragtede, snarere end de posthume eller senere dateret genoptryk, som underskrift en forfatter, det vil sige, hvis forfatteren stadig var i live på det tidspunkt, hvor genoptryk blev udviklet- er købt i stedet for originalen. Dette erhverv stadig frister til at begynde at indsamle, som Årgange kan købes fra kun et par hundrede euro, afhængigt af hvem fotografen er, men de øvre grænser er langt strakt, da det er så ofte i god kunst.

motivet

Ud over den materialistiske kvalitet spiller motivet en vigtig rolle i den historiske fotografering, udtrykkeligt det eksotiske og usædvanlige. Hvad kan det indebære? Eksempler på dette er tidlige tatoveringer eller jomfrurejse af flyet. Et historisk eksempel på den store franske fotograf Gustave le Gray fra 1800-tallet blev kommenteret af Faber.

Hvis et af hans værker viser mørke, rige farver og er i god stand, kan det værdiansættes med et sekscifret beløb i euro, mens hvis farverne er falmet, kan dette værk kun nå en værdi på ca. 10.000 euro. Et andet eksempel er Fratelli Armani, der fangede poesi og eksklusiv arkitektur peninsula: hvis Albumin print er stadig mørkt og rig i kontrast det kan klassificeres som ganske værdifuldt. Hvis et sådant kunstværk siden 1800-tallet permanent har været udsat for fotografiets værste fjende, lyset, kan det købes for en lille sum penge.

Stabilitet, i kategorien klassisk fotografi, opleves også af Rudolf Kicken fra Berlin, som et resultat af hans succes med at sælge kunst i Basel sidste sommer. I denne schweiziske by han med succes behandlet arbejdet i Lazlo Moholy-Nagy og Albert Renger-Patsch. I de foregående år “arbejdet i disse kunstnere var ikke ligefrem rippet af muren”, som det skete for kammerater på den tid, “men markedet for disse stykker viste øget stabilitet med utrolige inflationer.

For den klassiske del af markedet, vi har vokset samlere, den ‘Gamle Richs’ så at sige”, hedder Kicken, “og de altid kommer tilbage til markedet og kun kigge efter én ting: Kvalitet, kvalitet, kvalitet.”

Galleriejeren er vigtig hvis fotokunst skal frem i verden

Galleriejeren af det primære marked opbygger også kunstnernes arbejde kontinuerligt, hvilket ikke altid medfører høje prisstigninger i priserne. For Bernhard Knaurs, den unge galleriejer fra Frankfurt, indeholder fotografiets klassiske instrumenter til galleriarbejde: udstillinger og kataloger, messer og konservative strategier: Priserne hæves faktisk kun, hvis der “er en gyldig grund til det”.

Dette kan være en vigtig udstilling i et museum, som er dedikeret til en af hans unge kunstnere, eller hvis en udgave slutter tidligt, da dette signalerer en stærk efterspørgsel af dette stykke arbejde på markedet. Hvis det er det sidste stykke arbejde i en serie, kan prisen stige fra det første stykke af denne serie, der sælges. Arbejdet, som er tilgængeligt i større antal, skal begynde med en konstant prisklassificering.

Besøg fotograferne i Koldings hjemmeside

Men med hensyn til prisklasser, hvert galleri har deres egne strategier, samt deres egen tilbagevendende kundekreds. Det primære marked tillader ikke et prisfald, med hensyn til inflationen i priserne for Contemporary Photography; selv i en tid med regression i salget forbliver de hårde.

Et stort fald i priserne forråde håndværk af kunstneren, hvilket er grunden til, at en god galleri ejer ikke vil blive talt til at droppe prisen, men holder værdien af kunstnerne arbejde passende, selv i tider som denne. Inden for samtidskunst omfatter dette fotografiområdet, især de spekulative samlere, der ofte har tjent godt. Nogle af disse er den velkendte ejendomsgigant Hans Grothe, der har købt vigtige kunstværker til ‘mates rates’ af kunstnere som Andreas Gursky, Thomas Ruff, Thomas Struth og billedhuggeren Thomas Demand, der har lagt sit luksuriøst detaljerede værk i en fotografisk udgave.

Disse kunstværker, som blev købt for færre penge skulle have været videregivet til museer. Dette skete aldrig, da nogle af de værker af disse kunstnere blev opdaget på Chistie’s i New York i efteråret 2001 og solgt der med en stor fortjeneste til importøren. Galleri ejere og kunstnere er opmærksomme på ophedede spekulationer på kunstmarkedet, som Grothe ikke var den eneste og tager tidligere erfaringer i betragtning i deres kamp mod det: de giver det en masse tanker, der skal sælge stykker af en ny samling til især i de skjulte segmenter af markedet. Deres mål er at bremse den hastighed, der kredser om, hvilket har været så typisk i de senere år.

Værket skal først og fremmest forblive hos samleren i nogen tid og ikke hurtigst muligt videregives til det sekundære marked, da hverken den professionelle kunstner eller den professionelle kunstner, der investerer og bekymrer sig om kunst, gennem denne praksis tjener efter, hvad deres arbejde er værd; kun den kloge køber.

Hvis du vil vide mere:

Fotografiet er et dynamisk medie

Stærk efterspørgsel og en rigelig tilbud: at have tjent en legitim plads i kunsthistorien, er fotografering blevet et dynamisk medie med en hastigt modning og stadig mere krævende marked. I dag tegner fotografi mediet sig for 7% af de samlede globale auktionsindtægter fra samtidskunst, og auktionsomsætningen er vokset 1.300% siden slutningen af 1990’erne (+1.270% mellem 1998 og 2008) på et marked, der traditionelt domineres af maleri, skulptur og tegning.

Under krisen i 2008-2009 brugte samlere væsentligt mindre på kunst generelt, idet de købte færre malerier (salget af moderne malerier faldt med 11 % i 2008-2009 sammenlignet med 2006-2007), men de synes ikke at have reduceret deres udgifter til fotografering. Succesen med fotografering segmentet er sandsynligvis relateret til følgende faktorer: for det første, stjernen signaturer i fotografering segmentet er billigere end den moderne maleri marked, og for det andet, fotografering er en nem medium til at gemme (ideel til bulimic samlere og investorer) og er helt i harmoni med ivrig forbrug af billeder, der så meget kendetegner ånden i vor tid.

Auktionen triumvirate Christie’s, Sotheby’s og Phillip’s de Pury & Company holdt deres særlige New York Photography salg fra 6 til 8 oktober 2010. De endelige resultater var gode med tre fjerdedele af de solgte partier. Stjernerne i disse salg var et portræt af Pablo Picasso af Irving PENN ($ 182.000 på Phillip’s de Pury & Company), en genoptryk af Robert FRANK’s U.S. 90, på vej til Del Rio, Texas, der solgte for det dobbelte af sit høje skøn ($ 215.000 på Sotheby’s), Edward STEICHEN’s Wind brand, Thérèse Duncan på Akropolis ($ 115.000 på Sotheby’s), et print af Ansel Easton ADAMS ‘Grand Tetons og Snake River ($ 270.000 på Christie’s) og a daguerreotype med titlen 261. Paris Etude de plantes af Joseph Philibert GIRAULT DE PRANGEY ($195,000 at Christie’s).

Disse sekscifrede resultater blev alle genereret af “safe-bet”, “historiske” og moderne underskrifter af fotografering markedet. Ugen efter blev en række nyere fotografier solgt i London ved salget af Efterkrigs – og Samtidskunst. Andreas GURSKY spektakulære cibachrome Pyongyang IV (304,5 x 207 cm) krydsede GBP 1 million tærskel ($ 1.7m), en fordobling af sin anslåede prisklasse annonceret af Christie’s! Faktisk, da det sidst solgt i februar 2008 (på toppen af markedet), Pyongyang IV tilføjet en yderligere $ 500.000 til sin hammer pris. Disse priser var særligt opmuntrende i optakten til Photography Month i Paris.

Flere fotoartikler:

et væld af fotoudstillinger

Hvert år er Paris vært for et væld af fotoudstillinger i hele hovedstaden over en periode, der varer omkring en måned. Den centrale begivenhed på oprindelsen af denne brusk omkring stillbilleder er Paris Photo kunstmesse, som samler 120 gallerier fra 25 lande (18 til 21 November 2010).

Faktisk parisisk begivenhed er en grander version af september fotografering i Lyon og Rencontres de la photographie i Arles i løbet af sommeren. I år, for 30-årsdagen for Photography Month, vil der være mange kommercielle og ikke-kommercielle side-arrangementer, herunder udstillinger af André KERTÉSZ (Jeu de Paume, indtil 6 Februar 2011), Larry CLARK (Musée National d’Art Moderne, indtil 2 Januar 2011) og Harry CALLAHAN (Henri Cartier-Bresson Foundation, indtil 19 December 2010).

Samtidig vil der blive afholdt omkring 200 alternative udstillinger inden for rammerne af Foto-OFF-måneden, og auktionshusene forbereder sig på maratonsalg: Den 19. november vil Sotheby’s starte sagen med det første Fotosalg, og Piasa vil tilbyde gamle, moderne og moderne fotografier samme dag. Den følgende dag arrangerer Christie’s et større salg af værker fra Richard Avedon Foundation, og der vil også være to specialiserede fotograferingssalg den 21. Faktisk vil der være tusindvis af fotografier, der udbydes til salg i mindre end en uge!

Fashion fotografering

Fashion fotografering udføres for at sælge tøj; Det er en del af den bredere reklameindustri og udnytter ønsker og forhåbninger gennem henvisning til livsstil. Som sådan er det en unapologetic appropriator af stilarter og teknikker. Dette rejser spørgsmål om betydningen af gadefotografering, hvis det omfatter modefotografering og om sin plads, også i kanon af kunst fotografering. Mens du måske i første omgang se modefotografering som anderledes, fordi det er kommercielt, måske er det snarere et godt eksempel på behovet for at contrive i alle fotografering. Ser man på mode fotografier vi spekulerer på, i hvilket omfang andre, tilsyneladende spontane, fotografier blev konstrueret.

Tanken om, at modefotografering repræsenterer en fornedrelse af mediet skal udfordres på et tidspunkt, hvor det visuelle sprog reklame har gennemsyret “høj” kunst. Under alle omstændigheder er “fanget øjeblik” i sin mangfoldighed og manipulation, grundlaget for alle fotografering.

Fashion fotografering

arbejdet i modebranchen

Måske findes kategorier af fotografering ikke kun på grund af kontekst eller emne, men på grund af behovet for definitioner inden for et medie, der har været meget ansat af amatører, teknikere og fagfolk på mange områder. Bourdieu ser, at problemer med definition i fotografering placere det uden for det kulturelle hierarki. Den “uuddannede” forbruger hans sætning føles i stand til at se og bedømme fotografier uden at skulle erhverve den form for specialviden er nødvendig for mainstream kunst. Hans opfattelse, at fotografering falder uden for “indviet kunst” forhindrer ikke dem inde forsøger at passende og / eller marginalisere det.

Fashion fotografering falder mellem kunst og kommerciel fotografi

Fashion fotografering falder mellem kunst og kommerciel fotografi. Donovan, Klein og Tillmans har arbejdet i modebranchen. Donovan, selv om hans arbejde ikke var begrænset til mode, arbejdede i den kommercielle verden. Klein og Tillmans er flyttet mellem de kommercielle og kunstverdener. Klein’s optagethed i 1950’erne med intervention i forhold til hans og under behandlingen kan ses i hans mode og gadebilleder. Han kom ind i handlingen og senere, under behandlingen, bleget og beskåret sine billeder for en meget kontrast, kornet effekt. At han var påvirket af dokumentarfilm foto og cinéma vérité er klar, men i mode skud, vérité har givet plads til biografen. Han erkendte faktisk at være påvirket af Cecil Beaton.

Selv den største og mest originale af fotografer skal reagere på den kommercielle nødvendighed. Klein’s ekstremt og naturligvis konstrueret mode fotos har en formalitet, der ikke ses i Tillmans ‘billeder. Tillmans, ligesom Klein, har gjort en masse mode arbejde, og ifølge Russell Ferguson, “alle hans forskellige typer af fotos kan vises sammen producerer en overordnet strukturel opfattelse af bylivet. Han har arbejdet gennem det seneste årti på samme tid som visse modefotografer har rettet mod en særlig realisme, der afspejler aspekter af bylivet.” Corinne Day’s fotografier af Kate Moss forårsagede en sensation i 1990’erne de var for realistiske, selv om omhyggeligt iscenesat og ikke mere “rigtige” end Mike Leigh’s film.

kunstverdenen

Accepten af fotografiet som en del af kunstverdenen fandt sted i 1960’erne, og siden da er det kommet til at fortrænge maleriet. Som et resultat, kunstnere som Cindy Sherman og Jeff Wall kan nu bringe fortælling i kunst fotografering. Deres stilarter er meget forskellige: Jeff Wall opbygge en slags realisme og Cindy Sherman arbejder inden for en fantasiverden. Vi kan se begge tilgange spejlet i moderne mode fotografering. Så jeg synes at være på vej ned på siden af mode ikke er adskilt fra mainstream fotografering; hvordan kan det være anderledes, da Tillmans vandt Turner-prisen sidste år? Mode kan betragtes som en kategori af fotografering, men det har haft et symbiotisk forhold til kunstfotografering, både gennem sine udøvere og som en afspejling af bevægelser og stilarter.

Flere artikler:

Strong Sales at Auction of Photographs from the Polaroid Collection

More than 1000 photographs from the Polaroid Collection have been sold by Sotheby’s, New York.  The sale began on Monday with a 100-lot session in which every photograph found a buyer. Competition was fierce, with a full salesroom competing against numerous telephones, resulting in as many as ten different bidders vying for certain works. In the evening session there were works for sale by Edwin Land’s great friend and collaborator, Ansel Adams. His mural-sized prints achieved high prices, e.g. Clearing Winter Storm, Yosemite National Park, which sold for $722,500 after a battle between four different bidders. That price was well-above the high estimate and a record for the artist at auction (lot 100, est. $300/500,000) and Adams’ Moonrise, Hernandez, New Mexico sold for $518,500 (lot 94, est. $300/500,000). Photographs like William Wegman, Silver Tilt didn’t reach the estimate ($10,000 to 15,000)  with $8750 Among the first three lots of Monday evening’s offering was Chuck Close’s 9-Part Self Portrait, a collage of large-format Polapan prints, which sold for $250,500, more than four times the high estimate and record for a photograph by the artist at auction (lot 3, est. $40/60,000). The auction record for a photograph by Andy Warhol was broken twice – Self-Portrait (Grimace), a unique large-format Polaroid Polacolor print, sold for $146,500 (lot 52, est. $10/15,000) and then, with more than seven bidders competing, his Self-Portrait (Eyes Closed) soared past a high estimate of $15,000 to sell for $254,500 (lot 53, est. $10/15,000). Likewise, the artist record for Lucas Samaras was also surpassed twice in the session – first with the cover lot – Untitled (Self-Portrait with Hands), a unique large-format Polaroid Polacolor print, which sold for $56,250 (lot 2, est. $10/15,000), and then with his Ultra-Large (Hands), a unique muralsized Polaroid Polacolor print, which sold for $194,500 (lot 24, est. $20/30,000). Auction records for a photographic work were also set for Robert Rauschenberg, whose Japanese Sky I (From The Bleacher Series) brought $242,500 (lot 5, est. $40/60,000), and David Hockney, when his Imogen & Hermione, Pembroke Studios, London, 30th July, 1982, a unique SX-70 collage sold for $194,500 (lot 6, est. $30/50,000). Non-Polaroid works from the “Library Collection,” which were acquired by Ansel Adams on behalf of the Polaroid Corporation beginning in the mid-1950s, were also among the top sellers of the session. Harry Callahan’s Chicago (Trees in Snow) more than doubled a high estimate of $100,000 to sell for $254,500 (lot 74, est. $70/100,000) – a record for the artist at auction. Dorothea Lange’s equally iconic Peapickers Family (Migrant Mother, Nipomo) achieved $218,500, above a pre-sale estimate of $60/80,000 (lot 80) and Imogen Cunningham’s Unmade Bed also soared past the pre-sale high estimate of $25,000 to sell for $146,500 (lot 75, est. $15/25,000).

North Carolina (From The Bleacher Series), a further Rauschenberg work from the same series as Japanese Sky 1, achieved the highest price in the second session when it sold for $116,500, many multiples of the high estimate (lot 195, est. $20/30,000). A number of photographs by David Levinthal also sold for prices considerably higher than the pre-sale estimates – Selected Images from American Beauties, a lot of two unique large-format Polaroid Polacolor prints from 1989/90, sold for $34,375 (lot 185, est. $3/5,000) and Selected Images from Wild West fetched $17,500 (lot 177, est. $3/5,000). Several unique large-format Polaroid Polacolor prints by Valeriy Gerlovin/Rimma Gerlovina and Mark
Berghash, founding members of Soviet Russia’s conceptual art movement in the 1970s, were well received including ‘Myself,’ which fetched $15,00 (lot 188, est. $5/7,000). Two Helmut Newton SX-70 Polaroid’s beat their estimates by considerable margins; Couple with Motorcycle sold for $15,000 (lot 106, est. $5/7,000), and Nude in Pumps more than doubled the high estimate to sell for $18,750 (lot 107, est. $5/7,000). A number of Photographs from the “Library Collection” achieved strong prices in the third session including Selected Plates from the ‘Fiftieth Anniversary Portfolio’ by Edward Weston, acquired for the Collection in September 1957 from the artist, which sold for $86,500 (lot 311, est. $50/70,000). Attic Door (The Photographer’s Home, Rochester, NY) by Minor White, which was also acquired for the Library Collection in the same month, fetched $10,000 (lot 313, est. $6/9,000) and ‘Surf, Pacific Ocean, California Coast’ by the same artist comfortably exceeded the estimate to sell for $10,625 (lot 352, est. 5/7,000). There were further strong prices for Library Collection works in the final session of the sale; ‘The Rio Grande Yeilds Its Surplus To The Sea’ by Laura Gilpin, aquired for the collection in May 1957, was the subject of bidding by four collectors before eventually selling to a telephone bidder for $28,125 (lot 366, est. $6/9,000), and ‘South African Diamond Miners,’ the image by Margaret Bourke-White fetched $13,750 (lot 394, est. $8/12,000). Photographs by Ansel Adams were once again in demand with the mural Mission José De La Laguna, Laguna Pueblo, New Mexico selling for $31,250 to beat pre-sale expectations (lot 428, est. $20/30,000) and a print from a 1962 Polaroid Type 55 negative of his great friend Dr. Edwin Land selling above theestimate for $11,875 (lot 450, est. $5/7,000).

Prices are without buyers premium.

Are Photographs of Slave Children really worth $30000?

This weekend produced quite a stir over a “rare” Mathew Brady photograph of two slave children that was reported found in a North Carolina attic. An undated rare photo provided by collector Keya Morgan from New York, found in a North Carolina attic, depicts two slave children, art historians say. In April, the photo was found at a moving sale in Charlotte, accompanied by a document detailing the sale of John, left, for $1,150 in 1854.

An AP story refers to the “haunting 150-year-old photo” of a young black child named John, barefoot and wearing ragged clothes, perched on a barrel next to another unidentified young boy. The article says the photo, along with a document detailing the sale of John, was found at a moving sale in Charlotte, N.C. Adding to the value is the assertion that the “rare” photo was supposedly taken by famed Civil War photographer Mathew Brady.

New York collector Keya Morgan, the AP reports, says he paid $30,000 for a photo album that included the image of the young boys and several family pictures and $20,000 for the document about “John” being sold an auction.

But some digging, largely by a writer who goes by the name Kate Marcus, and a avid collector of African-American art named Sherry Howard (more below) turns up another side to the story:

  1. The photo is not “rare” nor “undiscovered,” in fact you can see it right now at the New York Public Library’s Digital Gallery, where it is part of a permanent collection.
  2. In addition, the same image was sold by a Connecticut eBay seller in a passel of photos for $163 two weeks ago.
  3. The New York Library’s copy notes that the photo was take around 1870 in Georgia by a Jerome Wilson, a noted photographer from the era also known as J.N. Wilson. This would also tend to undercut the “slave child” aspect since it apparently was taken after the Civil War.
  4. The eBay seller, who prefers to remain unidentified, says the photos he sold were side-by-side “stereoscopic” or 3-D) images, which, he says, can only be done by the original photographer, who he also identities as Wilson. The North Carolina version is a tighter cropped version of that image. The seller says photos were often copied by others at the time, so the fact that several copies of the same image would be in circulation under the name of different photographers is not unusual. The North Carolina photo has the name “Brady” as a caption.
  5. Several sites, and the eBay seller, say Wilson is the photographer. The eBay seller, an avid collector of antique photos, says Brady, in any case, never did 3-D photos.
  6. Kate Marcus, posting for the website Before It’s News, says she was able to undercut the weekend story with a few strokes on the keyboard and bare-bones searching. She said she was suspicious because a photo of young slaves “not such a rare subject matter.” Sherry Howard, who avidly follows auctions for African-American art, also has done some in-depth research into the “slave photo” issue here. In addition, there is a lively discussion about the photo at an eBay forum.

More stories:

photographic historian

Update at 6:16 p.m. ET: Will Stapp, a photographic historian and founding curator of the National Portrait Gallery’s photographs department at the Smithsonian Institution, was quoted by the AP as calling the photograph a “very difficult and poignant piece of American history.” He nows says that he believes the photo is from around 1865 to 1866 and that the boys, while apparently free, were almost certainly born into slavery. But he says he is now unsure about the photographer. He says he does not believe it was one of Brady’s photographers, Tim O’Sullivan. Most likely, he says, it was Wilson (whose photo is in the New York Public Library) or a photographer named Coonley, since Wilson was known to have bought up Coonley’s work.

“Nothing is absolutely cut and dried,”Stapp says.”We have lost so many records, even though we have some information, there is is not guarante what we know or think we know is true.” “I took it at face value,” he says. “But I should have known.” He does assert, however, that Brady did in fact do stereoscopic photography, although likely not this one.
As for a photo selling on eBay for $163 and at an attic sale for$30,000, Stapp says, “Caveat emptor (buyer beware).”

Update at 7:13 p.m. ET: Morgan pushes back strongly on any challenge to his $30,000 photo. He says his photograph is without question from 1862 or 1863, which he dates by the photographic process and the mounting that Brady used at that time, and not later. “The quality is self-evident,” he says. Wilson, on the other hand, was known for commercial copies of the works of other for many years after the war, he says. Morgan says the eBay photos and the New York Public library photos are of poor quality and were mass produced. “He copies Brady’s photos and other photos in huge quanities,” Morgan says. “One is the Real McCoy and one is the Fake McCoy,” he says, putting his decidedly in the first category.

Morgan attributes some of questions raised about his purchase to “buyer’s remorse” from the eBay seller who sold his photos for $163. Morgan says that the seller probably could have gotten around $1,000 for the photos, although not much more. He also stands by the claim that the photo was from North Carolina. He also says that by placing the date firmly in th 1862-63 period, that the boys would have still been slaves.

WHAT DO YOU THINK? IS IT WORTH IT?

Kodachrome – The End of an Era

At the end of December an era is coming to an end, the era of Kodachrome. Dwayne’s Photo, an independent facility in Kansas, which is the only remaining Kodachrome processing facility will accept the last films only till December 30. Kodachrome is the trademarked brand name of a type of color reversal film that was manufactured by Eastman Kodak from 1935 to 2009.Kodachrome was the first successfully mass-marketed color still film using a subtractive method, in contrast to earlier additive “screenplate” methods such as Autochrome and Dufaycolor, and remained the oldest brand of color film.

reklamefotos

Over its 74-year production

Over its 74-year production, Kodachrome was produced in formats to suit various still and motion picture cameras, including 8mm, Super 8, 16mm, and 35mm for movies and 35mm, 120, 110, 126, 828, and large format for still photography. It was for many years used for professional color photography, especially for images intended for publication in print media. Kodachrome requires complex processing that cannot practically be carried out by amateurs. The film is sold with processing included in the purchase price except in the United States, where a 1954 legal ruling prevents this.

Kodachrome is appreciated in the archival and professional market because of its color accuracy and dark-storage longevity. Because of these qualities, Kodachrome was used by professional photographers like Steve McCurry and Alex Webb. McCurry used Kodachrome for his well-known 1984 portrait of Sharbat Gula, the “Afghan Girl” for the National Geographic magazine. It was also used by Walton Sound and Film Services Ltd in the UK in 1953 for the only official 16mm film of the coronation of Her Majesty Queen Elizabeth the Second. Subsequent prints for sale to the public were also produced using Kodachrome.

digital photography

As digital photography progressively reduced the demand for film in the first decade of the 21st century, Kodachrome sales steadily declined. On June 22, 2009 Eastman Kodak Co. announced the end of Kodachrome production, citing declining demand. Many Kodak and independent laboratories once processed Kodachrome, but only one Kodak certified facility remained after the announcement: Dwayne’s Photo in Parsons, Kansas, where processing is scheduled to cease in December 2010. The final roll of 36-frame Kodachrome to be manufactured was tracked by National Geographic; it was shot by photographer Steve McCurry and processed by Dwayne’s Photo in July.

History

The additive methods of color photography, such as Autochrome and Dufaycolor,were the first practical color processes; however, these had disadvantages. The réseau filter was made from discrete color elements that became visible upon enlargement, and the finished transparencies absorbed between 70% and 80% of light upon projection, requiring very bright projection lamps, especially for large projections. Using the subtractive method, these disadvantages could be avoided.

Kodachrome was invented in the early 1930s by two professional musicians, Leopold Godowsky, Jr. and Leopold Mannes,hence the comment that “Kodachrome was made by God and Man”. It was first sold in 1935 as 16 mm movie film. In 1936 it was made available in 8 mm movie film, and slide film in both 35mm and 828 formats. Kodachrome would eventually be produced in a wide variety of film formats including 120 and 4×5, and in ISO/ASA values ranging from 8 to 200.
Kodachrome was featured in the 1973 Paul Simon song “Kodachrome”, and Kodachrome Basin State Park in Utah, has been named after it — the only park named for a brand of film.

elementer i billederne

Characteristics

Emulsion: Kodachrome is fundamentally different from other transparency and negative color films that have dye couplers incorporated into the emulsion layers. Kodachrome is unique because it has no dye couplers in the emulsion; these are introduced during processing. Without couplers, the emulsion layers are thinner, causing less light scattering and allowing the film to record a sharper image. A Kodachrome slide is discernible by an easily-visible relief image on the emulsion side of the film.Kodachrome has a dynamic range of around 8 stops, or 3.6-3.8D.

Archival stability

When stored in darkness, Kodachrome’s long-term stability under ordinary conditions is superior to other types of color film; images on Kodachrome slides over fifty years old retain accurate color and density. It has been calculated that the least stable color, yellow, would suffer a 20% loss of dye in 185 years. This is because developed Kodachrome retains no unused color couplers. However, Kodachrome’s color stability under bright light, for example during projection, is inferior to E-6 process slide films; Kodachrome’s fade time under projection is about one hour, compared to Fujichrome’s two and a half hours. Unprocessed Kodachrome may survive long periods between exposure and processing. In one case, several rolls were exposed and then lost in a Canadian forest; upon discovery 19 years later they were processed and the slides were usable.

Digital scanning and resolution

A 35mm Kodachrome transparency, like other 35mm transparencies on films of comparable ISO rating, contains an equivalent of approximately 20 megapixels of data in the 24 mm x 36 mm image. Scanning Kodachrome transparencies can be problematic because of the film’s tendency to scan with a blue color cast. Some software producers deliver special Kodachrome color profiles with their software to avoid this. However, an IT8 calibration with a special Kodachrome calibration target is necessary for accurate color reproduction.

Typically, dust, scratches and fingerprints on the slide are detected and removed by a scanner’s software. Many scanners use an additional infrared channel to detect defects, as the long wave infrared radiation passes through the film but not through dust particles. Kodachrome interacts with this infrared channel in two ways. The absorption of the cyan dye extends into the near IR region, and thus this layer is opaque to IR. Kodachrome also has a pronounced relief image that can affect the IR channel. These effects can sometimes cause a slight loss of sharpness in the scanned image when Digital ICE or a similar infrared channel dust removal function is used.

Processing of Kodachrome films

Kodachrome processing has undergone four significant alterations since its inception. The current process is designated Process K-14. The process is complex and exacting, requiring technicians with extensive chemistry training, as well as large, difficult-to-operate machinery. This effectively precludes amateurs or small laboratories from processing Kodachrome.First, the antihalation backing is removed with an alkaline solution and wash.

The film is developed using a developer containing phenidone and hydroquinone, which forms three superimposed negative images, one for each primary color. After washing out the first developer, the film undergoes re-exposure and re-development stages. Re-exposure exposes the silver halides that are not developed in the first developer, effectively fogging them. A color developer then develops the fogged image, and exhaustion products form a color dye in the color that is complementary to the layer’s sensitivity.

The red-sensitive layer is re-exposed through the base of the film with red light, and then re-developed with a developer forming cyan dye. The blue-sensitive layer is re-exposed through the emulsion side of the film with blue light, and then re-developed with a developer forming yellow dye. The green-sensitive layer is re-developed with a developer that chemically fogs it, and forms magenta dye. The two light re-exposures must be carefully controlled, so that they do not cause re-exposure of the green-sensitive layer.

Following color development, the metallic silver is converted back to silver halide salts using a bleach solution. The film is then fixed, making these silver halides soluble and leaving only the final dye image. The film is finally washed to remove chemicals which may cause deterioration of the dye image, dried and cut.

Legality of paid processing

Due to the complexity of its processing, Kodachrome was initially sold at a price which included processing by Kodak An envelope was included with the film, in which the photographer would send the exposed film to the nearest of several designated Kodak laboratories. The film was processed, mounted in 2″ x 2″ cardboard mounts in the case of 35 mm slides, and returned by mail to the sender. After 1954, as a result of the case United States v. Eastman Kodak Co., this practice was prohibited in the United States as anticompetitive. Kodak entered into a consent decree, ending this product tying practice in the United States, and allowed independent processing laboratories to acquire the chemicals needed to process Kodachrome films.

Decline

The use of slide film in general declined in the 1980s and 1990s which, combined with competition from Fuji’s Velvia slide film, caused a drop in Kodachrome sales. Kodachrome products were gradually discontinued and on June 22, 2009, Kodak announced Kodachrome would no longer be manufactured. Many Kodachrome processing laboratories, both Kodak-owned and independent, closed because of the decreasing volume of business. The loss of processing availability further accelerated the fall in Kodachrome sales.

On July 25, 2006 extensive documentation about Kodak’s Lausanne Kodachrome lab’s impending closure was sent to the European Parliament by the Dutch office of the European Parliament because, although located in Switzerland, the facility served all of Europe and its closure would affect European photographers. The Parliamentary committees for Culture and Education,[32] and for Internal Market and Consumer Protection studied the matter.

Kodak no longer processes Kodachrome film and instead subcontracts the processing work to Dwayne’s Photo, an independent facility in Kansas, which as of 2009 is the only remaining Kodachrome processing facility. Dwayne’s processing of 35 mm films is fully endorsed by Kodak, but Dwayne’s Super-8 process is not endorsed because it requires more agitation. Films sent for processing in the U.S. are mailed directly to Dwayne’s, while those sent for processing in Europe are sent to the Lausanne facility’s address, whence they are forwarded to Dwayne’s. Kodak had previously attempted to increase the availability of K-14 processing through the K-Lab program, where small labs equipped with smaller Kodak processing machines would supplement Kodak’s own processing services.

These labs have all closed. Dwayne’s Photo has announced that they will continue processing Kodachrome through the end of December, 2010 and that their supply of Kodachrome film has run out. The end of professional processing will signal the final end of the Kodachrome era. On July 14, 2010 it was announced that the last produced roll of Kodachrome was developed for Steve McCurry. The 36 slides will make their way to their permanent home at the Eastman House in Rochester, NY.

Recently-discontinued Kodachrome products


– Kodachrome 64 film in 120 format was discontinued in 1996.
– Kodachrome 25 was discontinued in 2002. Many point to the introduction of Velvia or the decline in quality of processing as the reason for its demise.
– Kodachrome 40 in the Super 8 movie format was discontinued in June 2005, despite protests from filmmakers. Kodak launched a replacement color reversal film in the – Super 8 format, Ektachrome 64T, which uses the common E6 chemistry.
– Kodachrome 200 was discontinued in November 2006. The last emulsion batch was numbered 2672, labeled with an expiration date of September 2008.
– Kodachrome 64 and Kodachrome 64 Professional 135 format were discontinued in June 2009. The last emulsion batch was numbered 1563, labeled with an expiration date of November 2010.

DO YOU HAVE ANY GOOD STORIES FROM THIS ERA??

the art of photography

Since receiving a Voigtlander camera as a gift at the age of 10, I’ve been fascinated with the art of photography. When I first saw a print come to life in the developer tray, I knew I would be a photographer. I am fortunate to earn a living doing what I truly love. I have devoted my life to exploring and improving my skills as a photographer and continue to do so day after day. I find art in the beauty and geometry of everyday life, never leaving the house without my camera. I approach photography with the belief that the reality of each moment is the ultimate beauty, and that these fleeting moments are the most valuable to my clients.

reklamefotos

wedding photojournalism or documentary style

My wedding work is often described as wedding photojournalism or documentary style. Although I am a Copenhagen based wedding photographer, I regularly travel for weddings, and have been commissioned to photograph weddings all over the world.

My work has been featured in ad campaigns for Amazon.com and Ericsson mobile phones, album cover art for musicians: Pete Droge, Downpilot, Rachel Harrington, Sugartown, Brother Sun Sister Moon, Visqueen, Truckstop Souvenir, and Broadcast Oblivion. My images have been printed in local and national magazines, including Rolling Stone (Germany), Seattle Post-Intelligencer, Seattle Times, Seattle Sound, Seattle Weekly, The Stranger, Photo District News (PDN), MSNBC.com, ROCKRGRL, The Big Takeover, Three Imaginary Girls, Washington Free Press, Local Planet, Seattle Police Annual Report, Seattle Police Foundation Calendar, Seattle Bride, The Knot, Conde Nast’s Brides Magazine, Wedding Pages Magazine, Wedding Expo and Banquet & Event’s promotional literature and billboards.

reklamefotos

Quotes:

“To suggest is to create, to describe is to destroy.” – Robert Doisneau

“Imagination is more important than knowledge.” – Albert Einstein

“While there is a province in which the photograph can tell us nothing more than what we can see with our own eyes, there is another in which it proves to us how little our eyes permit us to see.” – Dorothea Lange

“Life is what happens to you while you are busy making other plans.” – John Lennon

Travels:

  • Africa: Kenya, Malawi
  • Asia: Tokyo-Japan, Hong Kong, Mumbai-India, Udaipur-India, Bangkok-Thailand, Seoul-Korea
  • Canada: Vancouver & Victoria, BC
  • Europe: Amsterdam, Ireland, London, Paris 
  • Mexico: Ixtapa, Juarez, Troncones, Zihuatanejo
  • US Favorites (west to east): Honolulu, Seattle, Portland, San Francisco, Los Angeles, Santa Barbara, Monterey, Berkeley, Big Sur, Chicago, New York City

Influences:My wife and childrenParisFrancois TruffautRoger Deakins (cinematographer)Stanley KubrickThe opening home movie sequence in the film “The Game”Josef KoudelkaRene BurriSebastiao SalgadoRalph GibsonHenri Cartier-BressonAnton CorbijnLillian BassmanElliott ErwittMichael KennaGarry WinograndBill BrandtAndre KerteszRobert FrankJames NachtweyWoody Allen’s moviesThe Coen BrothersAlbert BrooksThe BeatlesJohn LennonMotorcycle racingNoam ChomskyHoward ZinnSushiMountainsPearl Jam, The Long Winters, The Fire Theft and the bottomless wealth of amazing local musicThe beautiful, unpredictable light of the Pacific Northwest (backlit sunny fog!)The mechanical sound of a Leica M6 shutter at 1/15th 

Favorite films:

  • Adaptation
  • Alien
  • Amelie
  • American Beauty
  • Another Woman 
  • Apocalypse Now
  • Baraka
  • Barry Lyndon
  • Barton Fink 
  • The Beatles: A Hard Day’s Night
  • Bladerunner
  • Bob Roberts
  • Brazil
  • Bullets Over Broadway
  • Chinatown
  • Citizen Kane 
  • The City of Lost Children
  • The Conversation
  • The Corporation
  • Crimes and Misdemeanors
  • Defending Your Life
  • Delicatessen
  • Double Indemnity (1944)
  • Dr. Strangelove
  • Enron: The Smartest Guys In The Room
  • Eternal Sunshine of The Spotless Mind
  • Fargo
  • Fight Club
  • The Game
  • Good Night and Good Luck
  • Hudsucker Proxy
  • Husbands And Wives
  • Manhattan
  • Manufacturing Consent: Chomsky and The Media
  • The Man Who Wasn’t There
  • Mindwalk
  • Network
  • Night of the Hunter
  • 1984
  • North By Northwest
  • Oh Brother, Where Art Thou?
  • The Player
  • Raising Arizona
  • Shawshank Redemption
  • Stardust Memories
  • The Sweet Hereafter
  • The Thin Red Line
  • Twelve Monkeys
  • The Usual Suspects
  • The US vs. John Lennon
  • A Very Long Engagement
  • Waking Life
  • Wal-Mart: The High Cost of Low Price
  • Wings of Desire

Portrætlys – Fotografering Nordjylland

Som vi ved, er det unødvendigt at “gå over vandløbet efter vand”. Du behøver ikke “gå over gaden efter lys” for at sige det sådan ….. medmindre det er på den anden side af gaden, at lyset er det bedste. Min pointe er, at der er lys frem for alt – eksisterende lys. Hvis du lærer at se dette lys, forstå det og bruge det, kan du skabe et stort lys i hans billeder uden at have brug for andre lyskilder, som f.eks. flash.

Portrætlys

Det handler om at finde og bruge det lys, man er i

Det handler om at finde og bruge det lys, man er i, naturligt lys eller kunstigt lys. Her er det portrætlyset, vi leder efter i byen. Det eksisterende lys kan være naturligt lys som de sidste lysstråler fra nattehimlen, der kryber ned mellem bygningerne. Eller det kan være det kunstige lys, der glimter fra en fremvisning eller fra et reklameskilt.

Se flere billeder fra Aalborg og Nordjylland her

Her er nogle af de byer i Nordjylland vi fotograferer i:

Miljøet er altid med og påvirker, hvordan lyset bliver

Miljøet er altid med og påvirker, hvordan lyset bliver. Ved at lære at forstå hvordan lyset er formet, har du en stor fordel og kan “skabe” godt lys med enkle midler. Det drejer sig ganske enkelt om at finde det spændende og gode lys og placere modellen gunstigt i dette lys og i andre omgivelser. Desuden er det eksisterende lys helt frit!

eksisterende lys i Nordjylland

Det er befriende kun at kunne klare dette eksisterende lys. Selv om der er et svagt lys, kan det ellers have meget gode kvaliteter. Lysets retning og hårdhed er det vigtigste at holde øje med! Ellers er det en god hjælp i lavt natlys, at det nuværende kamera kan tilbyde høje ISO-værdier af god kvalitet, og at de fleste linser har en stabilisator.

Som fotograf er det vigtigt at lære konstant at “tænke” lys. En enkel, men nyttig øvelse kan være at sidde på sporvognen og se på ansigtet af en medpasjer – undersøgelse, hvordan lyset i dette ansigt ændrer sig, efterhånden som sporvognen bevæger sig. I det ene øjeblik er lyset i ansigtet ikke særlig smukt, og i det næste kan det være helt fantastisk.

Her er nogle af de byer i Nordjylland vi fotograferer i:

Hvornår skal man tænke-fra hvor lyset kommer fra

Hvornår skal man tænke-fra hvor lyset kommer fra, hvorfor er lyset så, hvad har formet lyset på vej mod ansigtet. Når sporvognen bevæger sig, vil lyset konstant ændre sig, fordi miljøet ændrer sig – direkte sol, skygge, indirekte belysning via en lysvæg, der afspejler solen osv. Observer, tænk, Lær!

Når du og din model går rundt i byen, i modsætning til når du sidder på sporvognen og lyset hele tiden skifter, må du finde lyset og placere modellen gavnligt i dette lys. Bare ved at flytte rundt og studere, hvordan lyset ændrer sig, vil du lære meget om lys. Når du får mere erfaring, vil du lettere kunne forudse, hvor du kan finde det gode portrætlys.

For at hjælpe den, der er interesseret i denne proces, tilbyder jeg fotokurset “portræt Light Street-lengde”. Så går vi rundt i byen og finder det spændende portrætlys.

Læs mere:

Male med LYS – Fotograf i Sønderjylland

At fotografere betyder”at tegne med lys”. Når man “maler med lys”, gør man det med en lommelygte! Når et billede tages på den sædvanlige måde, belyses/eksponeres hele billedet samtidig. Når man maler med lys, belyser man emnets forskellige dele på Skift over en lang periode. Det giver en stor og spændende frihed til at kunne ændre lyset i denne sag!

Hvis du vil have et andet, kreativt og unikt billede

Hvis du vil have et andet, kreativt og unikt billede, så lad mig “male dig med lys”. Det er en spændende teknik, hvor resultatet på det enkelte billede er vanskeligt at forudse. Netop dette giver mulighed for, at det unikke billede kan opstå. Og med målbevidst arbejde på erfaring, vil det før eller siden opstå. Kreative processer tager lidt tid, men resultatet får en malerisk / kunstnerisk berøring, der passer perfekt til fek ‘ s portræt, skuespil og gravide billede!

Nogle af de byer i Sydjylland vi fotograferer i:

Hvis du vil have et andet, kreativt og unikt billede

naturen, arkitekturen, objekter/produkter i Sydjylland

I princippet kan teknikken anvendes på alle former for motiver, ikke kun på mennesker. Det er på mange måder lettere med de” døde ” emner, når de hviler – især hvis du vil have skarpe billeder. Så naturen, arkitekturen, objekter/produkter kan gladeligt males med lys. Det er naturligvis lidt upraktisk, hvis emnet er meget stort. Så skal du male derefter længe og / eller bruge en stærk lygte!

Nogle af de byer i Sydjylland vi fotograferer i:

Så uanset om du er en privat kunde, der vil have et nyt portræt, eller en erhvervsklient, der vil have et særligt produkt, så kan “male med lys” være en god mulighed!

OPSKRIFTSMALING MED LYS:
En pilsner….
1 pc ‘ er mørkt rum
1 PC-kamera, der kan sættes på manuel eksponering
1 PCs tripod for at holde kameraet i ro
1 PCs-model, som også bør forblive i hvile
1 pc ‘ er lille lommelygte med batteri

Så sæt kamera på M / pære, og feks blender 16 og Iso 200
Hav en god baggrundsmusik og erfaring.
Mal med lys i ca. 1 minut, indtil billedet er færdigt!
Hokuspokus og billedet serveres!

Det er både enkelt og vanskeligt at male med lys

Det er både enkelt og vanskeligt at male med lys – let at gøre det, men ikke helt så enkelt at ramme med det samme. Selvom man kan sige det ligeud for at skabe “kunst ved et uheld” er det også her, at “Øvelse gør mester”! Og jo mere viden og bevidsthed du har om lys, jo bedre ramme dig! Det er stadig kun for at forsøge at fejle, og erfaringen vokser gradvist! Hvis du vil have fart i denne proces, kan deltagelse i mit Værkstedslys bidrage til det.

elementer i billederne

Her er billedet i midten af billedet. Hvordan skal jeg se på det? Hvad er de vigtigste elementer i mit billede? Hvad betyder ” visuel tunghed “for de vigtige elementer til at fremhæve dem? Hvordan kan sammensætningen forstærke budskabet? …. Det handler om de små nuancer, der kan forstærke eller vende beskeden. Det handler om “timing“.

elementer i billederne

Vi har fotograferet i byerne i Vestjylland:

Slip kreativiteten fri

Det handler om at slippe kreativiteten løs. Det handler om at være “ved bevidsthed i forbryderen” – når en “tager billedet”! Det handler om at nå fremviseren med hans besked! Og måske er “billeder” stærkere, end hvis budskabet bliver gjort klart.

Det bør fotograferes og arbejde med opgaver, på kursusaftener og mellem kursusaftener, individuelt og i grupper. Vi kigger på billeder og taler om det. Jeg vil gøre mit bedste for at inspirere og vejlede i denne proces!

Kurset er egnet for dem, der har grundlæggende viden, der svarer til vores grundlæggende kursfoto, og vil komme et skridt videre, men der er ingen forudsætning. Pointen er, at dette kursus ikke handler om teknik, men om det visuelle.

Vi har fotograferet i byerne i Vestjylland:

Slip kreativiteten fri

Komposition, kreativitet og bevidsthed

Den, der ønsker det, kan naturligvis også gå på vores-grundkursus eller tilsvarende i forbindelse med billedet. Komposition, kreativitet og bevidsthed om den visuelle fortælling er “uafhængig” af teknikken, selv om kunpapir også på planeten øger chancerne for “det perfekte skud”yderligere. Og endelig kan billedet optimeres gennem en fornuftig billedbehandling.

Kursus plan:

Banen går over 3 aftener.
Kurserne indeholder både teori og praktisk fotografering.
Den får også fotografiske opgaver, der skal løses indtil næste studieaften.
På de studieaftener, vi ser på, diskuterer vi deltagernes billeder.
På forhånd foto-kursus foto:
Vi begynder med bevistjøringsprosessen omkring det billede, som hver deltager vil vælge et af deres egne billeder, som de er glade for, et billede, som de tidligere har taget, eller helst et nyt!
Tænk over det, og prøv at sætte ord på hvorfor du kan lide dette billede?
Og hvad du ønsker var anderledes?
Kan du huske, hvad du tænkte og gjorde, da du tog dette billede?

  1. Kurs nat:
    Præsentation og indledning
    Vejen fra motiv til færdig billedbevidsthed omkring hvert skridt på denne vej
    Jeg viser billeder/taler om indhold, sammensætning og kreativitet
    Gennemgang af indsendte fotos og drøftelse af disse
    Udførelse af fotografiske opgaver den næste aften
  2. Kurs nat:
    Jeg viser billeder/taler om indhold, sammensætning og kreativitet
    Gennemgang af indsendte fotos og drøftelse af disse
    Bevidst arbejde med et motiv – processen hen imod et bedre billede
    Fotografiske opgaver løst i grupper
    Udførelse af fotografiske opgaver den næste aften
  3. Kurs nat:
    Jeg viser billeder/taler om indhold, sammensætning og kreativitet
    Gennemgang af indsendte fotos og drøftelse af disse
    Kan se, hvad fotografen ville med sit billede?
    Opsummering og slutning