At War with the Obvious Photographs by William Eggleston

http://www.metmuseum.org/exhibitions/listings/2013/william-eggleston

William Eggleston (American, born Memphis, Tennessee, 1939). Untitled (Louisiana), 1980, printed 1999. Dye-transfer print. 11 7/8 x 17 13/16 in. (30.2 x 45.3 cm). The Metropolitan Museum of Art, New York, Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Elizabeth S. and Robert J. Fisher Gift, 2012 (2012.302). © Eggleston Artistic Trust

At War with the Obvious

Photographs by William Eggleston

February 26–July 28, 2013

Gallery 852

William Eggleston (American, born 1939) emerged in the early 1960s as a pioneer of modern color photography. Now, fifty years later, he is its most prolific and influential exemplar. Through a profound appreciation of the American vernacular (especially near his home in the Mississippi Delta) and confidence in the dye transfer printmaking process to reveal the region's characteristic qualities of light and saturated chromatics, Eggleston almost single-handedly validated color photography as a legitimate artistic medium. This exhibition celebrates the artist's iconic photographs of commonplace subjects that have become touchstones for generations of artists, musicians, and filmmakers from Nan Goldin to David Byrne, the Coen Brothers, and David Lynch.

Related Events

Gallery Talk:Exhibition Tour—At War with the Obvious: Photographs by William Eggleston

March 9, 2013 | Free with Museum admission

Gallery Talk:Exhibition Tour—At War with the Obvious: Photographs by William Eggleston

March 14, 2013 | Free with Museum admission

GoldenHourM for iPhone

Could be handy, need to look for an Android one too ...

https://itunes.apple.com/us/app/id596674453?goback=%2Egde_1830975_member_213799590

Description

GoldenHourM is a very accurate, brilliant and very easy to use “Golden Hour” calculation application program for smart phone/tablet that will finally make it possible for both amateur and professional photographers to take the photographs of the sky and the sun during sunset and sunrise with their true and desired “red” tone(s), which occurs when the sun is at lower elevation angles, distinctively at sunrise and sunset. As it stands today existing Golden Hour programs only calculate the time for the sun to be at those predetermined elevation angle, like 10-12° based on observations using astronomical programs. The real phenomenon is far more complex then just accurately predicting the time of a desired sun elevation angle and it requires some more effort which is handled very scientifically in the GoldenHourM Program. There are basically fairly complicated two matters in accurately predicting the Golden Hour.

The first matter is to be able to calculate the sun’s position very accurately, especially at very low elevation angles like in sun rise and sun set, any date any where on earth. So, even its simplest form Golden Hour is location, altitude and date dependent. “OEA Astronomical and Navigational Utilities” is able to offer these calculations very fast and with an incredible accuracy of 0.0003 degrees any where on earth from the South Pole to the North Pole, any date, past future or present any time and atmospheric altitude!

The second matter is to calculate the atmospheric attenuation of the solar power spectrum at any altitude, location and orientation. Sun light is not composed from a single wavelength, it has a wide spectrum and it is the function of the sun’s temperature given by the Planck radiation law. The wavelength dependency of the scattering and absorption of the sunlight in the atmosphere and the variation of the atmospheric path of the direct sun light as a function of time is the only reason for having a “red shift” in the received solar spectrum, which gives us the Golden Hour.

In the “GoldenHourM” the attenuation of the solar power in the atmosphere is calculated by the numerical solution of the Maxwell’s equations by taking the wave-length and altitude dependent absorption and Raleigh scattering into consideration for the entire solar spectrum. Planck radiation law is used to calculate the spectral power distribution of the sun light in space gives which gives the initial value of the problem. This approach provides very accurate prediction of the solar power spectrum at any sun elevation angle from sun rise to sunset for any location on earth, altitude, at any date, past, present or future.

GoldenHourM gives the solar spectrum, its peak wavelength and its “Color Temperature” as a function of time at a given location at any date for any atmospheric altitude! It is always accurate any where any time and date at any altitude for the entire solar spectrum. This methodology employed in GoldenHourM allows one to predict the color of the direct sunlight as well as the scattered light coming from any direction at for any date and time and customize the reddish tone that you desire in your perfectly professional photo!

There is also “Indirect Golden Hour” which can happen if there is an obstruction of the direct sun light at lower sun elevation angles like hill or a mountain between the photographer and the sun during sun set and sun rise or there is a need to customize the color of the scattered light from the clouds. GoldenHourM calculates this far more complicated phenomenon by using additional advanced mapping functions and unique GPS based ranging capabilities. Track the sun and Golden Hour any where at any date by using advanced mapping capability provided for 39 different Languages at a fraction of the cost of our PC and work station programs for professional organizations for great Golden Hour photography!

(Continued use of GPS running in the background can dramatically decrease battery life)

Exhibition at Camera Work offers an insight into fashion photographer Steven Klein's work

Exhibition at Camera Work offers an insight into fashion photographer Steven Klein's work

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Incredible Hand-Embroidered Issues of The New York Times

• Posted by Katie Hosmer on July 10, 2012 at 7:00am
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California-based artist Lauren DiCioccio hand-embroiders her pieces based off of imagery seen in old issues of The New York Times. From Gerald Ford's Funeral to Lady Gaga on the cover of The Arts section, DiCicoccio focuses her attention on the tangible beauty of printed news and media.

As the digital world continues to advance, newspapers, magazines, and printed materials are becoming more and more antiquated. In SewnNews, DiCioccio says, "I describe the beauty of the ritual experience of newspaper-reading by describing the paper as a tactile and fragile object in the language of craft."

Each piece includes a full issue of The New York Times wrapped in cotton muslin. One selected image is then hand-embroidered on the front of the fabric, where details are not exact and layers of colorful thread mix together and hang from the cotton in messy waves.

"The Radical Camera of New York's Photo League From 1936 to 1951"

The Columbus Museum of Art hosts "The Radical Camera of New York's Photo League From 1936 to 1951"

Posted: 06 Jun 2012 09:40 PM PDT

Columbus, Ohio. Drawing on the depth of two great Photo League museum collections, the Columbus Museum of Art (CMA) and The Jewish Museum in New York City collaborated on an exhibition of nearly 150 vintage photographs. "The Radical Camera: New York’s Photo League, 1936 – 1951", a formidable survey of the group’s history, its artistic significance, and its cultural, social and political milieu, will be on view at CMA through September 9th. Catherine Evans, exhibition co-curator and the William and Sarah Ross Soter Curator of Photography at the Columbus Museum of Art, observed that “This museum partnership is an extraordinary opportunity to showcase two in-depth collections. Because the images continue to have relevance today, it is especially important that the exhibition will be seen in four U.S. cities, reaching as broad an audience as possible.” The exhibition premiered at The Jewish Museum on November 4, 2011, to rave reviews. The New York Times called The Radical Camera a “stirring show,” and the New York Photo Review hailed it as “nothing short of splendid.” The New Yorker named the exhibition one of the top ten photography shows of 2011. Following its CMA presentation, The Radical Camera exhibition will travel to the Contemporary Jewish Museum, San Francisco, CA (November 15, 2012 – February 24, 2013); and Norton Museum of Art, West Palm Beach, FL (March 16 – June 16, 2013). 

'Dangerous Beauty'

Chelsea Art Museum Exhibits 'Dangerous Beauty'

Posted: 31 May 2012 07:27 PM PDT

New York City - In the wake of the controversial ban on underweight models by Madrid’s fashion week, and the recent publicized death from anorexia of a Latin American model, the fashion industry and the media went into a short-lived frenzy of self reflection asking, what is too thin?  The proposed ban drew support from only two other countries – Israel and India – while it was flatly rejected by the major fashion capitals of the world: Paris, London and New York.  In a climate where whoever is thinner gets the job, the pressure to be thin is enormous and as these are the women and girls who are relentlessly photographed, they become style role models for a population fascinated with celebrity.

The Met in NYC goes "Naked Before the Camera"

The Met in NYC goes "Naked Before the Camera"

Posted: 31 May 2012 10:00 PM PDT

New York City.- The Metropolitan Museum of Art is currently showing "Naked before the Camera", through September 9th. Since the beginning of art and in every medium, depicting the human body has been among the artist's greatest challenges and supreme achievements, as can so easily be seen by Museum visitors walking through the galleries of Greek and Roman statuary, African and Oceanic art, Old Master paintings, or Indian sculpture. Tapping veins of mythology, carnal desire, hero worship, and aesthetic pleasure, depictions of the nude have also triggered impassioned discussions of sin and sexuality, cultural identity, and canons of beauty. Controversies are often aroused even more intensely when the artist's chosen medium is photography, with its accuracy and specificity—when a real person stood naked before the camera—rather than traditional media where more generalized and idealized forms prevail. In the medium's early days—particularly in France, where Victorian notions of propriety held less sway than in England and America, and where life drawing was a central part of artistic training—photographs proved to be a cheap and easy substitute for the live model.