Phoenix Art Museum showcases large photographs

The Phoenix Art Museum recently add Sara Cochran as their new modern art curator. As one of her first tasks in the position, the museum reinvented the contemporary galleries in the Katz Wing. One room of the five part installation is a gallery featuring wall sized photographs. Including this image "Untitled (House on the Road)" by Gregory Crewdson. It is exciting to see the museum recognize the power of these large scale photographs and introduce more of them to the collection.

To learn more about Crewdson's work, read this previous post.

Art museum galleries reinstalled - Richard Nilsen

The Phoenix Art Museum has reinstalled its contemporary galleries in the first-floor Katz Wing with a series of "mini-shows."

The large paintings and photographs from the museum's collection, with some loans from some local collectors make this 5-part installation a must-see.

Third gallery features monumental photographs. Unlike the snapshots you are used to, these photos are wall-sized. German artist Thomas Struth is the king of this genre. This is his "Pergamon Museum, Berlin" from 2001. Notice how in the gallery it takes up a good chunk of wall. These giant photos are something of a current fad.

Another giant photo is Candida Hofer's "Palacio Nacional de Ajuda Lisboa VII" from 2005. The genre favors images of large public spaces and incredibly sharp detail, so your eye can wander through them, fixing on this or that.

Another large photo is Gregory Crewdson's "Untitled (House on the Road)" from 2002. Although it is a photo, the subject is oddly mysterious and unreal. What is that house doing on that street?

Custom wall coverings make a big impact

Savvy designers are discovering the potential in custom wall coverings. Not only for corporate users, but also for home decor. The versatility of the product combined with the designer's vision make the possibilities endless.

This wall covering was designed by LA Digital Graphics for a Paul Mitchell salon studio in San Francisco. They used a self adhesive vinyl product for this installation.

Digital wallpaper also offers the same freedom for customization. Designers are able to work directly with their client to create a one of a kind setting that is unique to their taste.


Excerpt from the November issue of Digital Graphics magazine article by Sharla Sikes

Why Not Wallpaper?

Digitally printed wall coverings offer a lot of advantages over traditional wallpaper, which helps to drive their growing popularity.

"You can offer short-run customization without the huge expense of setup. Machine printing is extremely expensive in that world, and they have to do larger runs. It's more cost effective to do it digitally. With new technology we now have permanent inks and eco-friendly products - that's a big thing now," says Kirsh...[Aaron Kirsch of Aztek Wallcoverings Inc. uses a UV curable printer similar to ours at Mighty Imaging.]

Traditional wallpaper is more limited in terms of design. With digitally produced murals or wall coverings, the customer and designer can work together to create not just a design but an environment that reflects the look and feel the customer wants.

Steve Ferguson's art at the Herberger Theater

The Herberger Theater in downtown Phoenix, besides being a haven for preforming arts, also promotes visual art through their Steel Pavilion Art Gallery. We had a small part in the latest exhibit Imprimatur opening up tomorrow evening. Steve Ferguson is one of the artists featured in the show. We made a large print of his image Restrained and then mounted it to plexiglas. The small thumbnail here does not do it justice. It is an impressive piece. The Steel Pavilion Art Gallery is open during the week, even if there is not a performance being held. Steve's piece will be on display until January 4th of 2009. Stop by the Herberger to see a great show, or just to see the art.

Arrive early for a performance and visit our Art Gallery. Each quarter we feature the creative and inspiring work of Arizona artists. A portion of the proceeds from each piece sold benefits the Herberger Theater Center.

The Art Gallery is open for viewing: 10am - 5pm, Monday through Friday through the Box Office, one hour before and during performances (including weekends), by appointment.

For information or to purchase a piece of artwork, contact Laurene Austin at (602) 254-7399 x105

42 foot HDR image from a 8 megapixel camera

This is a tale of Pete Carr and his quest to create a 42 foot HDR panoramic image for his client off of his 8 mp camera. Here, we are frequently the bearer of bad news, when we have to educate people on the limitations of their file size. You can learn a lot from Pete's process and what it took to get this file to image at full size. Since Pete was also trying to pull of that HDR look, he had to take triple the shots to overlap them. A total of 33 shots were combined to create the final image. Luckily he was able to use Photoshop CS3's panoramic seaming tool. He then used Genuine Fractals to beef up the resolution. It probably also helped that his client used wallpaper application (which has a lower DPI threshold).

Pete is right, "never say never", he was able to create a beautiful image that sets the perfect ambiance for his client's dining room. Found [Via]

The 42 foot wide Liverpool skyline HDR

You always see people discussing megapixels on forums and what you can print to. People saying they have a 8mp camera and it does A3 nicely. Which is fine for family portraits and things but when a client asks you to produce something 13 meters, 42 feet wide from an 8mp camera you of course say yes. I’ve printed to 1 meter before now without issue. The prints look great. So 13m? Easy. Ok so maybe not easy. You read articles about 50mp Hassleblads with sensors the size of TV’s that people use for advertising, for billboards. You never in your right mind think that you can use a simple mid-range DSLR with only 8mp to produce something 42 feet long and 9 feet high. Never say never though.

Using the power of 9 to create wall art

Sets of 3 image repeated or grouped together is a common theme in decorating and art. When you multiply that by 3 you get the power of 9. A set of 9 images can really make a big impact on a room. If you have a large wall and are unsure what to do to bring it to life, consider using this decorating rule to create an art installation that will accentuate your space and make a bold statement.

Using the Power of Nine to Decorate: Blissfully Domestic

Much has been said in the decorating world about the power of three. Repeating an element three times is very effective. I love three so much that I often find myself decorating in three to the third power. I love nine!

Why nine?

1. Today's homes often have vast amount of wall space.

Many of the homes constructed in the last 15 years have large walls. Often these walls extend up 1 1/2 to 2 stories. That is a lot of wall space. Placing a picture or a series of three pictures on a vast wall can dwarf the artwork or arrangement.

Over in a second

Barbara Probst takes a unique approach to her photography. She shoots one location or studio set up simultaneously with up to 12 different cameras at a time. The resulting series of diptych and triptych images compares and contrasts what the "reality" of a photograph can tell us by combining completely different angles of the same scene. Each set or group is printed on a large scale to involve the viewer in each perspective of that split second in time.

Nicole Pasulka of The Morning News wrote a great interview with Barbara furthering exploring the concepts of her photographic process. Found Via.

Split Second

How do you set up these shots?

When I photograph there are always at least two and sometimes as many as 12 cameras involved. There is no way for me to look through the viewfinder during shooting, since all cameras release at the same time. Therefore, I have to set up the cameras and instruct the models very deliberately to get every camera to frame the scene in the right way. Needless to say, there is “accidentiality” involved, which I enjoy working with. The results are never quite as planned, but usually there’s something I can work with. I am not interested in manipulating images on the computer. My work is based on an investigation of the conditions of photography and its relationship to reality.

When I look at some of your work—like Exposure #35, for example—it doesn’t seem possible that the photos could be the same shot. Do you consider your diptychs or triptychs to be photographs of the same thing? What’s each panel’s relationship to the other or others?

The images of each series are always shot in exactly the same instant. Each series show at least two simultaneous views on one and the same thing from different angles, distances, and contexts. This simultaneity is essential to my work. The relationship of the images is based on it. The simultaneity makes the images comparable. The viewer gets involved in the work by shifting his or her view from image to image —back and forth—and by comparing the images and bundling up the different points of view the images are made from in his or her own point of view. This analytical way of looking leads to questions about perception and raises of doubts about our ability to recognize truth.

Liven up your walls

We are very excited about the new services we can now offer with our U/V curable roll to roll / rigid hybrid printer. One of them being wallpaper. It is a perfect marriage of cutting edge technology and design. Imagine creating your own wallpaper design for your home. Or take an image of your favorite locale and turn a wall of your home in to a tropical paradise. The possibilities are endless. USA Today's Weekend magazine agrees.

3 great ways to liven up your walls: by Megan Kaplan

Check out these solutions to take "wallpaper" to a whole new level.

Until recently, wallpaper was a bit of a wallflower in the world of interiors. Paint -- available in an array of colors and decorative finishes -- had all but pushed it aside. "We were wallpaper-starved," says Thom Filicia, New York City designer and host of "Dress My Nest." "And now we're a little obsessed. The idea of bringing interest back to our walls is undergoing a real renaissance." The upshot: wall coverings that are more sophisticated, less difficult to work with and cheaper than ever. So long, fusty cabbage roses!

"Wallpaper has finally caught up with people toady who want to express their creativity without destroying their walls," says Sharon Hanby-Robie, the spokeswoman for the Wallpaper Council and author of "Decorating Without Fear." Decals, digital photo murals and 3-D applications are the trends leading the way....

--LARGER-THAN-LIFE MURALS

Innovations in digital technology and printing have taken the mural to new heights -- literally. "We are not restrained by that 27 1/2-inch roll size anymore," Hanby-Robie says. "You can have an image blown up 19 feet high to cover an entire wall." Even better, the oversize options are virtually endless.

Creating your own gigapixel image

Photopreneur is a blog that offers ideas, inspiration, and opportunities for photographers on how to market themselves and inventive ways to generate revenue from their photography. If you have never visited them before, you should check it out. You will be dizzy with ideas and might have several "Why didn't I think of that?" moments after an hour of reading. It is a great resource for photographers.

They had a feature on photographer Max Lyons. He specializes in gigapixel photography. He shot his first gigapixel image in 2003 of Bryce Canyon. Technology has helped speed up the once daunting task of merging the many shots taken to comprise the gigapixel image, he developed a software program called PTAssembler. The post has several tips if you are considering trying to create a gigapixel image of your own.

"The software I’ve created to produce these images (originally written in 2003) has no size constraint. From a purely technical standpoint, it would be a trivial matter to produce images of two, 20 or 200 gigapixels."

Of course, it’s not quite that easy. Max points out that while his program has now cut the time to assemble a one gigapixel mosaic from several weeks to just two hours, most of which is automated, capturing each photo “tile” with a long focal-length lens can take “a considerable amount of time.” It took Max seventeen minutes with a six megapixel Canon D60 to shoot the 196 separate images that went into the Bryce Canyon panorama. That in turn creates problems with movement, changing light and depth of field, and can limit the range of subjects that can be shot using this method:

"In fact, if you look at the works of other high resolution photographers, you’ll see that most really large images (gigapixel and beyond) tend to be either (a) of interior, flat surfaces where depth of field, motion and lighting changes are not such problems, (b) scenes that look OK when viewed at tiny size, but have such a narrow depth of field that most of the image is hopelessly blurry when viewed at full size and/or (c) suffer from obvious misalignments and obvious lighting changes…"

What also impressed me about Max's work is his choice for printing his gigapixel files. He uses a LightJet to print his highly detailed images. It is a perfect illustration of the power of the machine. You can read the title off of the books in this shot of the Library of Congress Reading Room. You can't do that with an inkjet.

Out of the box

We have recently been working with Michael Iaquinta of Montages by Nature. He is an artist located in Shoreline, Washington who takes landscapes to a whole new level. Or levels as the case may be. We have printed for him large landscapes on metallic paper. He will then cut them up in to panels and mount them at different levels and depths in a thick frame. It is a unique take on landscape photography. With the way the metallic paper responds to light at different angles and viewing perspectives, this technique accentuates the effect.

Now that is big

This is the largest photograph ever produced in one sheet. The Legacy Project turned an aircraft carrier in to a camera obscura and hand applied the emulsion to a custom made canvas to create it. The specs on what it took to make this image are mind boggling.

The Legacy Project to Exhibit the World’s Largest Photograph -Photo Reporter

The world’s largest photograph, the Great Picture, which is 3,375 square feet, premiers at Pasadena’s Art Center College of Design at the South Campus Wind Tunnel Gallery in a showing that will be held September 6–29, 2007.

Only a handful of museums are large enough to display the photograph, which is a history-making gelatin silver image 3 stories high by 11 stories wide. The photograph was created over nine months in 2006 by six well-known photographic artists collectively known as The Legacy Project and 400 volunteers, artists and experts. The $65,000 photograph was made using a shuttered Southern California F-18 jet aircraft hangar transformed into a gigantic camera obscura. The largest camera ever made, it measures 44' 2" high by 79' 6" deep by 161' 6" wide. To darken the hanger, 24,000 square feet of 6 mil black viscuine, 1,300 gallons of foam gap filler, 1.52 miles of black gorilla tape and 40 cans of black spray paint were needed. The aperture was a one-quarter inch (6mm) pinhole 15 feet above ground level, with no lens or other optics used.

Working in their jet hangar/camera, the group hand-applied 80 liters of gelatin silver halide emulsion to a seamless 107' 5" by 31' 5" canvas substrate custom made in Germany. Development was done in an Olympic-pool-size developing tray using 10 submersible pumps and 1,800 gallons of black-and-white chemistry.

The Guinness Book of Records preapproved and is now evaluating applications in two categories: world’s largest photograph and camera.

Next stop 50 miles

If you ever needed a good reason to go to a rest stop, besides the obvious one, this is it. William Wegman recently installed large photographic murals of his infamous weimaraners in two rest stops in Maine. A third to be installed in 2008. The five paneled piece entitled "Flock" is shown above.

Renowned photographer unveils mural at rest stop: Kristen Andresen for Bangor Daily News

Photographic murals, each approximately 5 feet tall by 35 feet wide, were installed earlier this week in the northbound and southbound plazas in Kennebunk. A third will be on view in a West Gardiner plaza, which is slated to open in 2008.

A panel of art experts and transportation officials selected Wegman's submissions from a pool of 50 artists. His international stature, ties to Maine and the accessible nature of his work set Wegman apart, McNeil said. So, too, did his willingness to work within the group's $100,000 budget, which is far less than a comparable work would fetch on the open market.

"I think we're getting a lot for our money," McNeil said.

Larger than life

These images by Mark Robbins were printed life size for his 2003 installation at the Atlanta Center for Contemporary Art creating a powerful impact on the viewer. I particularly like his choice of placement and juxt a position. The subject is set along side their environment almost as you would set a plant in the corner of a room. The people have no higher level of importance in the piece than how they choose to arrange their furniture.

Model Homes: The Photography of Mark Robbins by Julie Lasky for the Design Observer

Mark Robbins' Households is a collection of portraits in which the sitters are sometimes sitting rooms (or kitchens or bedrooms) and the people are polished, draped, and arrayed like furniture. Composed to resemble architectural plans or elevations - or in some cases the triptychs of medieval altarpieces - the images represent home dwellers and their environments.

...Slim margins separate the people from their interiors, building facades, urban settings, and one another - even when they are shown side by side.

Is that discreet white border a margin of privacy? A form of containment? A strip of mortar gluing together the bricks that form an establishment? By atomizing and rebuilding his pictorial edifices, Robbins deconstructs the identities and relationships they represent.

Queen Creek murals leave a Mighty big impression

What was once the quiet, rural, country Town of Queen Creek Arizona is growing so fast that the staff at the City Hall are having a devil of a time just keeping up. The Town wished to purchase three new wall murals that depict the current Town limits, the Town's planning area, and outlying areas. Accuracy was critical since everybody from the Mayor on down would use these murals on a daily basis in assisting with the future build out of their little town.

Brian Sovik, GISP of AMEC Earth and Environmental, Inc. (a worldwide leader in design and project management infrastructure) headed the project with aerial imagery provided by Air Photo USA. Working closely with Ms. Shawny Ekadis, GIS manager of the Town of Queen Creek, Mighty Imaging produced and installed all three 72"x91" murals. These murals, printed on our LightJet were accurate within one millimeter per eight foot of paper and were mounted on 1/8" masonite. After applying a luster laminate we built a bolt together museum back for easy installation.

The vibrancy of the images were incredible and the graphics identifying the Town's limits and future planning areas seemed to jump off the wall. If you want your town to grow start with some Mighty Big Images. Put them out front and center, then watch as one person after another marvels at the future opportunities that become apparent with a large wall mural.