2013年2月21日 星期四

[info]Tarkovsky Films Now Free Online

Andrei Tarkovsky (1932-1986) firmly positioned himself as the finest Soviet director of the post-War period. But his influence extended well beyond the Soviet Union.  The Cahiers du cinéma consistently ranked his films on their top ten annual lists. Ingmar Bergman went so far as to say, “Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.” And Akira Kurosawa acknowledged his influence too, adding, “I love all of Tarkovsky’s films. I love his personality and all his works. Every cut from his films is a marvelous image in itself.”
Shot between 1962 and 1986, Tarkovsky’s seven feature films often grapple with metaphysical and spiritual themes, using a distinctive cinematic style. Long takes, slow pacing and metaphorical imagery – they all figure into the archetypical Tarkovsky film. (Watch the scene from Stalker above.)
You can now watch Tarkovsky’s films online – for free. Each film is listed in our collection of Free Online Movies, but here you can access each major film in the order in which they were made.
NOTE: if you access the films via YouTube, be sure to click “CC” at the bottom of the videos to access the subtitles.

2013年2月16日 星期六

[比賽]2012-2013 Nikon 國際攝影大賽


Submissions must be made via laptop or desktop computer;
work can not be submitted from a tablet computer or smartphone.

Entry Categories

  • Category A:Single photo(單張作品)
  • Category B:Photo story (two to five images that present a theme or idea.)(2~5張系列作品)
  • Category C:Photographic Video (45 seconds in length)(45秒的影片)
  • Category D:Motion Snapshot (a special award category cerebrating the release of the advanced interchangeable lens camera Nikon 1, using its "Motion Snapshot" function.)(動態攝影,現用nikon 1 拍攝)

Awards and Prizes 獎項

Category A•B•C

Grand Prize:(特等獎:共一名,獎杯,100萬日圓獎品,官網上露出)
1 award. The winner will receive a trophy(獎杯), Nikon products equivalent to 1,000,000 yen and the opportunity to show his or her portfolio on the Nikon Photo Contest Website. *1
1st place:(第一名:每一類別各1名,獎杯與50萬日圓獎品,在官網上展覽的機會)
1 award per category. The winners will receive a trophy, Nikon products equivalent to 500,000 yen and the opportunity to show their portfolios on the Nikon Photo Contest Website.*1
2nd place:(第二名:每一類別各5名,獎杯與20萬日圓獎品)
5 awards per category. The winners will receive a trophy and Nikon products equivalent to 200,000 yen.
3rd place:(第三名:每一類別各十名,獎杯與10萬日圓獎品)
10 awards per category. The winners will receive a trophy and Nikon products equivalent to 100,000 yen.
NIKKOR Award:(Nikkor賞:1名,使用nikkor鏡頭拍攝之作品,獎杯與100萬獎品)
1 award. This prize goes to the photographer producing the best work using a NIKKOR lens. The winner will receive a trophy and 1,000,000 yen.
DELL Award:(Dell 賞,100萬日圓獎品)
A cash award of 100,000 yen to the first place finisher in each category.

Category D

1st place:(第1名:共三名,獎杯,20萬日圓獎品)
3 awards. The winners will receive a trophy and Nikon products equivalent to 200,000 yen.

All Categories(各類別最受歡迎獎,獎杯與50萬元日幣)

Participants Award for Most Popular Entry:
1 award. The winner will receive a trophy and 500,000 yen.


Prizes are subject to change without notice and cannot be exchanged, transferred or redeemed for cash.
*1 The winners of the Grand Prize and 1st place prize will have an opportunity to exhibit additional work in the awards website. Winners are requested to submit, free of charge, a selection of other works for which they hold the copyright. Prizes will not be revoked if winners decline to exhibit additional work. Winners will be contacted directly with additional details regarding the prizes.

Entry Period

2012/12/1(Saturday)-2013/2/28(Thursday)(closes at 1:00 p.m. Japan standard time)

Submission Rules

  • Entries for categories A and B are limited to a total of ten works; for example, two entries in the single photo category and one entry of four photographs in the composite category would total six works.(A組與B組最多合計十張作品)
  • The same works or portions of the same works cannot be submitted to both categories A and B.
  • Entrants can submit one entry in each of categories C and D. This can be done on top of entries to Categories A and B.
  • Entry is limited to original works that have not formerly been displayed or exhibited and to which the entrant holds all applicable rights. Works that have won prizes in other contests or that have been submitted to other contests currently underway are not eligible. Works that are entered in other competitions after submitting to this contest will not be eligible.

Submission Guideline

All categories are open to any subject matter.

Categories A and B

  • Image data files created with digital still cameras (including medium and large-format cameras). Images that have been retouched using software or by other means will be accepted. Both color and monochrome images will be accepted. (Scans of photographs taken by film cameras are not eligible.)(不能使用底片相機)
  • File format: JPEG
  • File size per JPEG: more than 1500 x 2100 pixels/more than 150dpi/Up to 20 MB(1500x2100以上,20MB以下)
  • The standard color space for the judging process is sRGB.


  • Winners may be requested to provide higher resolution images for publication or display purposes related to the contest.

Category C

  • Movie files created using the movie-recording feature of digital still cameras (including medium and large-format cameras).
  • Length: 45 seconds
  • File size: Up to 200 MB
  • File format: MOV only
  • Any music used must either be copyright-free and performed and recorded by the entrant or a person designated by the entrant (commercial recordings of copyright-free music may not be used) or be works for which the entrant holds the copyright and for which the copyright has not been transferred to a copyright collective or other body.

Category D

  • Motion Snapshot files created with the Nikon 1. Only one file may be submitted per entrant.
  • File format: MOV

How to Enter (如何參加:上網送件)

After carefully reading all the information on this page, click the "Submit" button at the bottom, fill out the entry form, upload your work and submit.


  • After the first round of judging, all entries will be posted onto this website (planned timing: April, 2013). Awards will be decided after second round (April), and final round (June) of judging. Contest results are scheduled to be announced on this website in August 2013. 第一輪評審過後,作品會公布再網頁上(2013 四月)
  • Everyone who has entered the contest has a right to vote for the "Participants Award for Most Popular Entry". Details will be announced on this website. 

Notification to Winners (2013 七月初會公布結果)

  • The winners will be notified through email by early July 2013.


Winners are requested to review the documents sent to them separately via E-mail from the organizer (including a local Nikon office or authorized Nikon distributor) and, in the event they accept the terms and conditions, to fill out the required items, sign the form (or, if replying by E-mail accept the terms and conditions electronically as specified in the E-mail message) and deliver them to the organizer either by mail or through electronic means on or before the date stated in the documents. Winners may be contacted by telephone should the organizer deem it necessary to confirm any of the information provided.
Please note that failure to respond within 14 days of the date, on which the organizer sends the notification E-mail, whether due to server malfunction or any other cause, will result in disqualification. Entrants should therefore notify the organizer of any changes to their E-mail addresses using the entry page on this website. The organizer does not accept liability for any disadvantages that may arise as the result of inability to receive E-mail.


There is an exhibition to be held of all awarded works, place and date to be determined.

2010-2011 Grand Prize


2013年2月12日 星期二

[展覽]【在此,存有-我的人權紀實影像展 系列活動】


「在此,存有-我的人權紀實影像展」,自2013年1月26日開幕,內容涵括議題與故事相當多元:勞工權益、都更與居住權、核能環境與安全、流浪動物、外籍勞工、在地產業、家庭互動等等,好評不斷 ! 展覽期間的3個周末,參展攝影者將親自與觀眾分享他們的作品故事與心路歷程,主辦單位更於週日舉辦呼應本次展覽相關議題的電影座談會,邀請大家一同來分享、交流、關注屬於台灣社會多元層面的生活及人權課題。


時間:2013年2月16日(六) 下午2:00

時間:2013年2月17日(日) 下午2:00

時間:2013年2月23日(六) 下午2:00

時間:2013年2月24日(日) 下午2:00

聖東尼的誘惑The Temptation of St. Tony




核你到永遠Into Eternity



[展覽]【 凝視.對望-福爾摩莎之眼攝影聯展】

【 凝視.對望-福爾摩莎之眼攝影聯展】

◎展期: 2/16(六)~2/27(三)




14:00~15:40 開幕茶會.分享交流

15:40~16:30 主題座談(從已知的影像中.延伸出未知的觀點)


2013年2月7日 星期四






2/19 攝影如何成為藝術──從「攝影是不是藝術」到「藝術是不是攝影」
2/26 攝影如何賞析──從「描述」、「詮釋」到「評斷」攝影
3/05 攝影與機具──從「pinhole」到「instagram
3/12 再現與表現──從「take photographs」到「make photographs」
3/19 現實與真實──從「紀錄」到「擺拍」
3/26 攝影與風景──從「客觀」風景到「主觀」風景
4/02 人的樣態──肖像、人體與時尚攝影裡的人
4/09 紅塵俗世──攝影中的日常生活與記憶
4/16 物的世界──物自身與影像的再生產
4/23 一個攝影人的一段攝影路──陳敬寶的攝影作品 (本堂邀請攝影評論者郭力昕出席對談)

▲陳敬寶(1969-),台灣藝術家。美國紐約視覺藝術學院(School of Visual Arts)攝影系美術學士,國立臺北藝術大學美術創作研究所(2011~)。長期致力於攝影創作與國小美術教育。1999年以攝影作品《紀實/肖像—檳榔西施》引起廣泛討論,攝影風格受到矚目;2001年開始進行《迴返計畫》與《天上人間》系列,鏡頭轉向生活週遭的人與環境:前者以國小孩童為拍攝對象探討記憶與現實的界域,後者呈現台灣土地對攝影師所顯示的意義;這兩個主題作品並在2010年獲日本東川獎「海外作家賞」,同時以《迴返》為題,2011年在東京工藝大學舉辦個展,隔年則於台灣舉辦《印樣:陳敬寶攝影探察》、《迴返計劃:四部曲》個展。著有《片刻濃妝—檳榔西施影像輯》,譯有《攝影評論學》。

網路報名:兩廳院售票系統 www.artsticket.com.tw
上課時間:2013/2/19~4/23 每週二 7:30pm-9:30pm
收 費:一門課/十講優惠價3,200元(原價3,500元);單講350元;《VOP攝影之聲》訂戶讀者享整門課九折優惠(2880元/十講)

2013年2月6日 星期三

[展覽]2013【 凝視.對望-福爾摩莎之眼攝影聯展】

【 凝視.對望-福爾摩莎之眼攝影聯展】
◎展期: 2013/2/16(六)~2/27(三)
14:00~15:40 開幕茶會.分享交流
15:40~16:30 主題座談(從已知的影像中.延伸出未知的觀點)

[4x5] Lenses for 4x5 cameras - landscape


John Sparks' pick

90mm -  Nikkor SW f/8, this is lens has the most coverage of any f/8 90mm.
 The f/8 is important because it keeps the size/weight of the lens

120mm   Schneider Super Symmar f/5.6.  Again this is the smallest 120mm
 lens that has enough coverage for moderate movements.  It is
 much smaller and lighter than the true wide angles like the
 Super Angulon or the Nikkor SW.  Those are only really
 appropriate for studio work or architecture or larger formats
 where the larger coverage is really important or the size/weight
 doesn't matter.

 Alternately, I might choose a Rodenstock 135mm Sironar-S.  This
 isn't all that different in angle of view from a 120, but is
 even smaller than the Super Symmar and probably eliminates the
 need for having both 120mm and 150mm.  The Sironar-S is because
 it has the largest coverage of any current 135mm and all the
 current 135mm's are a bit short on coverage.

150mm   Any one of Nikkor-W, Fuji-NWS, Schneider Apo-Symmar or
 Rodenstock Sironar-N or -S.  These don't vary much in size or
 weight and the performance is all pretty much the same.  I might
 choose the Sironar-S again because a little more coverage at
 this focal length might help and it doesn't cost too much in
 size or dollars.  Rodenstock says that the Sironar-S lenses are
 the sharpest ones they sell and are at least the equal if not
 better than anything else out there (though the differences will
 be pretty small compared to the others in this list expecially
 at the f/22 & f/32 I usually use with 4x5 for landscapes).
 However, any of the lenses listed will be the sharpest lens you
 own (unless you get a 135mm version and a 120mm Super Symmar
 would be a pretty close call).  For the same basic design,
 shorter lenses will always be slightly sharper than longer
 lenses and 135mm/150mm is the shortest "normal" lens design
 usable on 4x5.  Wide angle lenses trade off sharpness for more
 coverage so will be slightly less sharp than longer lenses.

210mm   Same list as for 150mm except I probably wouldn't choose the
 Sironar-S here because it starts to make a real difference in
 size and weight and any of these 210mm's will have plenty of
 coverage.  I'd probably choose which ever of these weighs the
 least (I think it's the Nikkor), but it won't make much

 As an alternative, I might choose a 210mm Schneider G-Claron or
 200mm Nikkor M instead.  These are light, tiny lenses that
 probably have enough coverage for 4x5 landscapes.  The Nikkor is
 smaller and may be slightly sharper and contrastier because it's
 multicoated and optimized for distant subjects (the G-Claron is
 single coated and designed for use at 1:1).  The G-Claron does
 have more coverage which might be useful.  I'd chose one of these
 if I planned on backpacking with the camera and probably one of
 the others if I rarely carried the camera more than a couple of 

300mm The best choice here is the Nikkor M.  It is very sharp, optimized
 for distant subjects, plenty of coverage for most uses and quite
 small.  I might choose a G-Claron if I planned to switch to 8x10
 at some point because of its greater coverage, but I'm using a 
 Nikkor M 300mm on 8x10 now with little trouble.  Any other 300mm
 is way too huge and heavy for almost all 4x5 needs.

Kerry Thalmann's Future Classics

90mm f8 Nikkor SW
The lightest of all modern (Biogon derivative) multi-coated 90mm wide
angle lenses.  It is an excellent performer, with great coatings (NIC).
It's relatively compact size and lightweight (lighter than the 90mm
Super Angulon and 90mm f6.8 Grandagon-N) making it a favorite for 4x5
field photography.  It also has substantially greater coverage (235mm)
than the other compact (slow) modern 90mm wide angles.

120mm f5.6 Schneider Super Symmar HM
Another lens I feel is destined to be a classic for 4x5 field
photographers.  It is really the only modern lens in the desirable 120mm
focal length that is best suited for this application (the 120mm APO
Symmar is lacking in coverage at 179mm, the 115mm Grandagon-N, 120mm
Nikkor SW and 120mm Super Angulon are really 5x7 wide angles and
therefore much larger and heavier).  It is not a tiny lens, but it
weighs about 1/2 the 115mm Grandagon-N.  This one could be shoved aside
by the new 110mm Super Symmar XL (which again is more of a 5x7 wide
angle, but small enough to be favored by 4x5 shooters as well).  BTW,
personally, I love this lens for 6x17cm and it is currently mounted on
my home made 6x17 point and shoot.

150mm f5.6 Rodenstock APO Sironar-S
This is a wonderful little lens.  Compact, lightweight and more coverage
(231mm) than the other 150mm 4x5 lenses (I consider the larger 150mm APO
Sironar-W and 150mm Super Symmar HM to be overkill for 4x5 landscapes
and better suited for the 5x7 format in that application).  It uses ED
glass and is incredibly sharp all the way to edges, and even at large
stops (I have found it to be incredibly sharp even wide open, and have
read at least one test report that showed it to achieve maximum LPM at
f5.6 - which is where it should be sharpest in theory, but in practice
is rarely true).  I don't know what it is about this lens, but images
made with it just scream SHARP! and have an incredible sense of
"depth".  I've used a lot 4x5 "normal" lenses, both modern and classic,
and this one beats them all IMHO.  Out of all the lenses I own, this is
the last one I would ever part with (you'll have to pry it from my cold,
dead hands).

300mm f9 Nikkor M
Another tiny gem of a lens.  Small, sharp, contrasty.  What else could
you ask for in a long focal length field lens for 4x5.  Variation of the
classic Tessar design, but with modern multi-coatings and a modern Copal

360mm f8/500mm f11 Nikkor T-ED
Two great long focal lengths in one and a half lenses.  ED glass, true
telephoto design.  Extremely sharp for a telephoto (as good or better
than most "standard designs for distant subjects).  360mm focal length
useable with short bellows (~12") field cameras.  500mm length useable
with about 16" of bellows.  720mm option also available if you want a
really long 4x5 lens and have a long bellows monorail or field camera
(Wisner or Canham).  This baby is already in hot demand on the used
market.  Imagine what it will be like when they haven't been made for 20
or 30 years.














課程價格: 每人一期 $9000 ,舊生與在校學生九折。

課程大綱 :

討論學生作品 + 分析2012年國外展覽

 Walker Evans & The American Social Landscape Photographers (Allentown Art Museum )
 Industrial Monuments: Photographs and Works on Paper from the Machine Age (Amon Carter Museum)
 Zwelethu Mthethwa: Front Room (Baltimore Museum Of Art)
 Enrique Metinides: Urban Archives: Rituals of Chaos (Bronx Museum of the Arts)
 W. Eugene Smith: Jazz Loft Project: W. Eugene Smith in NYC, 1957-1965 (Center for Creative Photography )
 DIY: Photographers & Books (Cleveland Museum of Art)
 50 Greatest Photographs of National Geographic (Cleveland Museum of Natural History)
 The Radical Camera: New York’s Photo League, 1936-1951 (Contemporary Jewish Museum)
 Taryn Simon: A Living Man Declared Dead and Other Chapters I-XVIII (Corcoran Gallery of Art)
 Second Nature: Abstract Photography Then and Now (DeCordova Museum)
  Laura Letinsky: Still Life Photographs, 1997-2012 (Denver Art Museum)
 Carrie Mae Weems: Three Decades of Photography and Video (Frist Center for the Visual Arts)
 Ray K. Metzker: The Photographs of Ray K. Metzker and the Institute of Design (Getty Center)
 Robert Mapplethorpe (Getty Center)
 Gabriel Orozco: Asterisms (Guggenheim Museum)
 Freedom Of/For/To (Haggerty Museum of Art)
 Gordon Parks:  100 Years Installation (International Center of Photography)
 Sharon Lockhart: Noa Eshkol (Jewish Museum)
 After Photoshop: Manipulated Photography in the Digital Age (Metropolitan Museum of Art)
 Faking It: Manipulated Photography Before Photoshop (Metropolitan Museum of Art )
 Vik Muniz: Garbage Matters (Mint Museum)
 Photography & Science: An Essential Unity (MIT Museum)
 Ori Gersht: History Repeating (Museum Of Fine Arts, Boston)
 W. Eugene Smith and James Nachtwey (Museum of Fine Arts, Houston)
 The Shaping of New Visions: Photography, Film, Photobook (Museum of Modern Art)
 New Photography 2012: Michele Abeles, Birdhead (Ji Weiyu and Song Tao), Anne Collier, Zoe Crosher (Museum of Modern Art)
 Ruud van Empel: Strange Beauty (Museum of Photographic Arts)
 Jeff Liao: From Farm to City: Staten Island 1661-2012 (Museum of the City of New York)
 The Serial Portrait: Photography and Identity in the Last One Hundred Years (National Gallery of Art)
 Lalla Essaydi: Revisions (National Museum of African Art)
 Richard Ross: Juvenile-In-Justice (Nevada Museum of Art)
 Altared Spaces: The Shrines of New Mexico (New Mexico History Museum)
 Ken & Melanie Light: Valley of Shadows and Dreams (Oakland Museum of California)
 Louviere + Vanessa: Something Whispered, Something Sung (Ogden Museum of Southern Art)
 Barbara Bosworth: Natural Histories (Peabody Essex Museum)
 Cindy Sherman (Portland Art Museum)
 America in View: Landscape Photography 1865 to Now (RISD Museum of Art)
 Adad Hannah: Intimate Encounters (San Antonio Museum of Art)
 Rania Matar: A Girl and Her Room (Southeast Museum of Photography)
 Edward Burtynsky: Oil (Taubman Museum of Art)
 Kate Breakey: Las Sombras/The Shadows (Wittliff Collections)

-《廣播早操的對話》 聯展;
-《出社會: 1990年代之後的台灣批判寫實攝影藝術》聯展(獲得2012十大公辦好展覽的第一名。《藝術家》雜誌主辦的「視覺藝術年度票選」)
-《思想起:台灣攝影的社會敘事》 聯展(獲得2011麗水國際攝影文化節最佳展覽獎)。