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Author:Daniel Meadows
  It is the work of English documentary photographer Daniel Meadows In the early 1970s, travelling in a converted double-decker bus which doubled as home and photo-gallery, Meadows criss-crossed England making pictures of the "ordinary British". His article is titled: Digital Double-Decker     Go to exhibition    
Monday, 28 August 2000
Author:Richard James Havis
  "We Went Digital, Where Were You?" may have been the title of this year's New York Video Festival's conference on digital video, but "Come Together" would have served just as well. The exciting thing to come out of the conference, held at the Film Society of Lincoln Center's Walter Reade Theater, was how media are merging to form a hybrid audiovisual experience. The films shown at the festival digitally merged still photography, graphic design, text-based information, animation and video -- to startling effect. If you think you've seen the future of filmmaking at the multiplex -- you probably haven't. It may be that the real future is taking place in small studios -- or bedrooms -- with an Apple computer, copies of After Effects and Premiere and a bucket-load of multidimensional thinking.   The digital conference, jointly chaired by the NYVF's Graham Leggat and RESfest head Jonathan Wells, brought four digital filmmakers together to show examples of their work and discuss the impact of digital technology on modes of creation. Eric Henry demonstrated his cool, text-intensive "Wood Technology in the Design of Structures." The credits for "Wood" said, "Written, captured, designed and animated by Eric Henry," which set the scene for the discussion about media morphing that followed. Elizabeth Dagger presented the laid-back, graphics-intensive "Zero Point," which featured a Ry Cooder-ish soundtrack. Producer-director Tommy Pallotta showed the startling "Snack and Drink," a series of conversations with an autistic youth, which was rotoscoped to look like a hybrid of live-action and animation, and was emotionally resonant to boot. Rod Ascher, from the West Coast-based Directors' Bureau, manipulated still photography for his DV work "Alfred."   The range of source material used by those working in digital video begs the question: Are they filmmakers, videomakers or DV artists? This salient point was addressed by RESfest's Wells. He wondered if DV should now be considered a medium of its own, a new creative category outside of film or video. (Indeed, this question may be giving some film festival programmers a headache.) Not only do DV works have a unique production process, they have a different set of aesthetics, too.   The panel preferred to view DV in the broad context of visual media as a whole. "I like to think of them all as similar," Pallotta said. "When you're directing (with traditional means), you'd ask a character to walk across a room. (Working with DV), you can do it by clicking a cursor. It's just a different way of getting something to happen." In fact, it became clear that the DV artists wanted to avoid marginalizing both the medium and their skills by locating DV in a space too far removed from traditional media: "Our skills are transferable," Pallotta said. Lower costs are a hallmark of DV, but needn't be, he added: "If you have highly paid stars in your film, you start eating up money (no matter the format)." The fact that many DV makers preferred to have their work transferred to film for projection also was mentioned, with panelists pointing out that the transfer process, if done well, can add new qualities to the work.   Still, the works exhibited at the conference looked radically different from anything produced either in film or in the more "traditional" areas of experimental video. Traditional experimental video makes use of "collaging," whereas these DV artists merge media so that it becomes too synthetic to be called a collage.   Henry's "Wood Technology," an After Effects college project that explored the notion that "Life is always elsewhere, there is always something missing," combined video and animation with a strong typographical element. Yet there wasn't the sense of fragmentation and dislocation that collaging tends to evoke -- the work appeared fully formed. "With new technology, you can have material on call from various sources," Henry explained. "It just seems natural to recombine things. Technology does tend to suggest that route, and it goes hand-in-hand with experimental film and video. In 'Wood Technology,' I repurposed a piece of found text and gave it an artistic spin. I found a book on swimming and search-and-replaced the word 'swimming' with the words 'wood-eating.' "   Dagger's sultry "Zero Point," made on a Mac with Premiere and After Effects, reflected her background in graphic design. "The look comes from being immersed in that medium, and from the way I use the text in the work," she said. "Breaking up the screen into different components is something that software enables you to do. And with After Effects and Premiere you can work with a lot of layers -- even more than with an Avid."   Ascher's "Alfred" made use of still photography. "I worked on some still photographs in After Effects," he explained. "Doing something like this allows you to make things that don't look like other things. You can take a variety of clips and excerpts -- still photography, clip art and images from CDs -- and the tools allow you to be flexible in the way that you use them." Ascher also used Photoshop to work on the stills.   "Mixing things together in this way is becoming part of a new culture. I want to see everything come unglued, collapse and collide," Pallotta said.   Pallotta brought the much-ignored issue of interactivity and expression into the debate by pointing out how gaming engines such as Quake can be used to create films. Pallotta co-authored an article in RES magazine (Vol. 3/2) that told how gamers were using the powerful Quake engine to experiment with Quake movies. "In 1996, a Quake clan, the Rangers , ushered in the age of Quake movies with their 'Diary of a Camper,' " wrote Pallotta and Katie Salen. "They conceived the idea to record a game demo that exploits the software's built-in moviemaking capabilities. Quake players were transformed into actors on the virtual movie set."   "We're developing new ways to express ourselves. We're working on computers, making work that is intended to be viewed on computers," Pallotta said at the conference. "The engine that drives Quake III, for instance, is incredibly powerful. It creates an immersive world. But can such great technology only be used for one thing? I wrote an article about people taking these engines and using them to create narrative films. Eventually, people will take these over and use them to interact with one another -- narratives will be created from that interaction. It's becoming a different world out there."   A different world -- and a less-expensive one. Talking about the relatively low cost of digital tools, Henry said new technology allows the artist to bring the privacy of a novelist to the usually communal art of filmmaking. "I probably wouldn't have made 'Wood Technology' without a computer," he said. "Although friends helped me, it was essentially a private process. I didn't have a lot of confidence then. The technology allowed me to build my confidence as I crafted this thing, noodling away in my bedroom. I guess that I could have made it with non-digital tools -- I was a student, and had access to equipment. But digital tools allowed me to make it a more-private affair."   The new thrust of DV was summed up by Pallotta: "It's about thinking in more dimensions," he said. August 23, 2000 -The sources for this article are 2-pop and Creative Planet-   by Richard James Havis from Creative Planet's MediaTechnology.com       http://www.zonezero.com/magazine/articles/vidfest/vidfest.html      
Wednesday, 23 August 2000
Author:Martha Ansara
  Date: Tue, 22 Aug 2000 11:27:41 +1000   My email is Martha. and your site has been used as an example in a web authoring class. It's beautiful, the first time I've ever really used the web for pleasure. I'll be back. And will tell friends.   Thanks so much for a beautiful site. Martha Ansara  
Tuesday, 22 August 2000
Author:Victor Gayol
  Date: Sat, 19 Aug 2000 20:02:20 -0600   Estimado Pedro y equipo de Zonezero: Ha sido un gusto inmenso descubrir (finalmente después de tanto oir hablar de el) el sitio de zonezero, y solo con hacer un pequeño tour por las diversas secciones, me quedó la impresión de estar viendo (y disfrutando y aprendiendo) un trabajo de una calidad EXCELENTE.   No sé por donde comenzar, pues tanto las imágenes, la información, los comentarios, los artículos, los ensayos, los portafolios y las exhibiciones me han impresionado positivamente. Pero sobre todo, el gran cuidado en la edición y diseño (como de todo trabajo en el que esté inmiscuido Pedro Meyer) de todo el sitio, y el gran cuidado y atención para con los visitantes.   Personalmente, ha sido un reencuentro exquisito con la fotografía, no sin su grado de melancolía, pues a los pocos minutos de entrar por primera vez recordé con profunda emoción las reuniones de hace quince años del Taller de los Lunes, en la sede de calle de Tehuantepec del CMF. La voz de Pedro volvió a mis oídos al leer sus textos y ver imáhgenes de autores conocidos y desconocidos hasta ahora para mí, y con ello, su sabiduría y su intenso entusiasmo por compartir sus ideas y sus puntos de vista, ideas y conocimiento que no sólo quedan en una cuestión de "seleccionar" y "mostrar" imágenes sino en el transfondo de la intención humanista con la que lo hace.   Bien, pero basta de "críticas". Actualmente, aunque fuera de circulación en cuanto a productor de imágenes (temporalmente), sigo encontrándome cotidianamente con ellas, pues el proceso de completar mi formación académica como historiador me lleva a la fotografía, de la misma forma que la fotografía me ha llevado a la historia continuamente. Es un diálogo exquisito, pues en medio siempre está el ser humano debatiéndose por un mundo más justo. Y aunque mis investigaciones para la tesis doctoral no incluyen imágenes (estudio problemas de la vida judicial en el siglo XVIII novohispano), no pierdo la oportunidad de ir buscando ese punto -difícil como ningún otro- en el que el discuro de la imagen fotográfica y el discurso del texto historiográfico puedan convivir, cada uno en su especificidad, de manera amable, sin pesar el uno sobre el otro, dialogando. De hecho estoy comenzando un pequeño ensayo sobre la serie que tomó François Aubert en Querétaro durante la segunda quincena de 1867, a propósito del fusilamiento de Maximiliano de Habsburgo. Autor y tema ya abordado otras veces, aún deja mucho para decir.   Queda hecha mi presentación, solicitado mi inclusión a su lista de correo, y pendiente una crítica un poco más objetiva del trabajo que realizan, pero la verdad es que zonezero es un sitio al que hay que regresar continuamente para poder dialogar con Ustedes de manera más amplia. No duden que tienen en mi a otro "cautivo" que invertira el tiempo necesario en zonezero para descubrir, disfrutar y reflexionar en la propuesta que están haciendo.   Gracias Pedro, gracias equipo de ZoneZero,   Victor Gayol estudiante maestría - doctorado en historia centro de estudios históricos el colegio de michoacán  
Saturday, 19 August 2000
Author:Robert Cowdery
  Date: Sat, 19 Aug 2000 14:55:35 -0700   Robert Cowdery   Dear Pedro, I love your website and the works of art that are presented there. Thanks, Bob Cowdery.   Below is a copy of the email that I have just sent. Thank you Pedro for including Sr.Quintanar's works and his email address so that could email him, and thank him personally.   Dear Sr. Quintanar, I have just viewed all of your pictures on Pedro Meyer's website. Whow!!!   You are a great photographer. And you have presented your pictures in a very wonderful, unique and creative way. And your music and your pictures have suddenly reawakened in my heart my love for Mexico, the Mexican people, and their culture.   I have lived in Mexico a number of times with the monks at the Monestario Benedictino in Cuernavaca. Even though, I still cannot speak Español fluently, I have fallen in love with all that I have experienced in Mexico. Presently I am studying for a Masters Degree in Social work at Eastern Washington University.   But as I look at your pictures and I listen to your music on my G-3 Mac, my hearts longs to return to Mexico as soon as I can to live with the kinds of Mexicans that you have illustrated so beautifully.   Muchas Gracias Señor for your very beautiful and unique presentation.   Very Sincerely, Robert Cowdery Spokane, WA  
Saturday, 19 August 2000
Author:Bailléres & Manjarrez
  Date: Sat, 19 Aug 2000 14:14:35 -0500   Señores de Zona Zero: sin duda creo que esta es una de las páginas más importantes de la Red en el género de la fotografía, los veo y los leo desde hace tiempo, hoy he decidido darme de alta para discutir en el Foro y empezar a relacionarme con otras personas que tengan inquietudes sobre la foto, igual que yo creo.   Les escribo desde el buzón que comparto con mi esposa (también fotógrafa) y quisiera por lo pronto que me hicieran saber si en forma automática recibo una notificación en donde sabré que ya estoy en la lista de foristas y/o que me pudieran mandar una mensaje de notificación.   Muchas gracias por dedicarme un minuto de su tiempo y estaremos en contacto.  
Saturday, 19 August 2000
Author:Bill Schlosser Sr.
  Date: Sat, 19 Aug 2000 11:28:21 -0400   Hi KUDOS for a great job on the graphics of your Web site and the contents there-in. I found in easy to maneuver and the Quality of the presentations are excellent.   My name is Bill Schlosser SR. I recently retired from the Graphics Profession, being a photographer for 56 years a sculptor, abstract artist, printer, lithographer,and musician for the last 35 years.   Thank You  
Saturday, 19 August 2000
Author:Charles Dee Mitchell
  Date: Fri, 11 Aug 2000 21:03:42 -0500   Please notify me of new additions to your site. I have been working my way through it over the past month and I enjoy it immensely. It's the best photography site I have found on the web.   Best wishes, Charles Dee Mitchell  
Friday, 11 August 2000
Author:Gerardo Regos Abecasis
  Date: Sat, 5 Aug 2000 01:04:10 -0300   Srs. de ZONEZERO: Les escribo con el fin de que me incluyan en sus listas de envíos, ya que me pareció por demás interesante vuestro sitio.   Me parece que si bien la red contiene gran información sobre la fotografía, es difícil encontrar espacios tan abiertos y con contenidos como los que ZONEZERO ofrece. lo digo, ya que soy un asiduo visitante de sites de fotografía, ya que desde hace casi 8 años me dedico a dictar cursos y talleres de fotografía en Buenos Aires Argentina, con la intención de mostrar a mis alumnos imágenes diferentes, imágenes hechas mas allá de una técnica fotográfica determinada, pero si logradas a través de las sensaciones y de expresar desde ellas todo lo que uno puede dar.   Realmente me aburren un poco la mayoría de las muestras fotográficas que se realizan en mi país, a nivel fotoclub o escuela de fotografía, ya que estas me parecen demasiado light, sin contenido y con un bajo contenido de compromiso con la imagen. Por lo que decidí mostrar a mis alumnos contenidos de algunos sites de Internet, y o sorpresa, me encuentro que en la mayoría de las paginas de la red, salvo aquellas referidas a los indiscutibles grandes maestros, todas ofrecen mas de lo mismo.   Por tal motivo al encontrarme con ZONEZERO, pude ver que era posible dar con un sitio en español, que representara la fotografía que intento enseñar.   Les envío mis datos y la dirección electrónica de mi taller de fotografía, para que me remitan sus novedades y la información que suelen enviar, para seguir conectado con Uds. además, próximamente les enviare algunas fotos para publicar en vuestra galería.   Les agradezco el respeto por la fotografía y les pido que sigan adelante con su trabajo, que me resulta de una excelente calidad.   GRACIAS GERARDO REGOS ABECASIS  
Saturday, 05 August 2000
Author:Janet Knoblock
  Date: Fri, 28 Jul 2000 21:28:50 -0700   Retired Business Owner Grandmother/Greatgrandmother Interested in movie making, sounds, photos, video's etc. Using iMac DV special 13GB Hard drive w/256 MB builtin memory plus a VST firewire 27GB external hard drive. My husband and I are traveling full time in our RV touring mostly the western states.   So photography and film making is our main interest. Then, converting to QuickTime 4 to share with friends and family on the net or e-mail.  
Friday, 28 July 2000
761. Manfred
Author:Manfred
  Date: Fri, 28 Jul 2000 00:01:17 +0200   Tenéis mi admiración. Me ha impresionado vuestra pagina y desde hoy la visitare asiduamente. Soy un fotógrafo del sur de España que desde hace unos meses aprende ha navegar en el océano digital, creo haber encontrado en vosotros un buen guía y espero corresponderos mas adelante con algún proyecto digno de ser publicado.   Di con vosotros atraves de la ireview de apple (mi maquina). Un saludo.  
Friday, 28 July 2000
Author:Ana Maria Huerta
  Date: Thu, 27 Jul 2000 11:08:19 -0500 (CDT)   Te agradezco el haber conectado mi email con el maravilloso y esplendido trabajo fotográfico de zonezero. Indudablemente estamos atravezando el umbral de las formas de comunicaciòn integradas o multimedia.   He aprendido tanto de sus imágenes. Poesia, historias pequeñas narraciones, momentos únicos, irrepetibles, eso me han parecido el cùmulo de fotografìas.   Los felicito por este trascendental trabajo y estaré pendiente en lo que vaya apareciendo, por el puro placer, y para difundir este esfuerzo. Ana María Huerta   ana maria huerta  
Thursday, 27 July 2000
Author:Liesbeth Sluiter
  Date: Fri, 21 Jul 2000 10:23:51 +0200   Good morning/afternoon/night, I'm a freelance photographer and writer, working mainly on journalistic assignments. Subjects ranging from environment and health care through trade unions and railways to culture and architecture - in short, the lot. Sometimes I hate my work but usually I am quite happy. I like your magazine, it's in my bookmarks though I must admit I don't look you up often enough. So maybe putting me on your mailing list will help.   Thanks, best regards, Liesbeth Sluiter   PS: I'd like to get as much information as possible on the transition to digital  
Friday, 21 July 2000
Author:Fernando Castro R.
  A few years ago I read a Time magazine review of the book The History and Geography of Human Genes. The review revealed factual details of fifty years of population genetics research.1 Some of these facts seemed to me as momentous as the Copernican Revolution, the Theory of Evolution, and the discovery of DNA as the mechanism of heredity. Unfortunately, scientific facts are often incorporated into the functioning ideological background of society all too slowly. The one fact I would like to connect with my reflections of Mario Cravo Neto's work is that Europeans are genetic hybrids with 65% Asian genes and 35% African genes. In a sense, Cravo Neto's works express the truism that the manifestations in his culture of world mythologies belong to all people like him, and perhaps even, all of us. Thus, his work ought to be looked at not for its exoticism but for its catholicism.       A question that has puzzled me for many years is why so many Latin American artists are inclined to address issues of cultural identity, even when, at times, the particular cultural themes they treat are not connected with them genetically. Cravo Neto, for example, is not conspicuously African. Of course another fact of genetics is that what is conspicuous is only phenotypical whereas what defines an individual molecularly and therefore, what endures in heredity, is genotypical. Was it not the point of Nelson Pereira dos Santos' movie Tenda dos Milagres (1975) that many of the prominent European families of Bahia (Cravo Neto's hometown) were cousins of an Afro-Brazilian anthropologist they discriminated? Cravo Neto does not run away from the African culture of his world; quite the contrary, he immerses himself in it. With the 65/35 ratio as an established fact, no further argument is needed on the genealogical level to regard diverse communities simply as one human conglomerate. Its corollary is that there is no genetic foundation for any particular phenotypic group to claim dominance. On the other hand, the reason for concerning oneself with specific cultures of the world cannot be genetic affiliation (which is shared), but cultural milieu (which is heavily dependent on personal history).     Cravo Neto is not, by any means, the first Brazilian artist to concern himself with Afro-Brazilian issues. He was preceded by the Brazilian filmmakers of the socalled Cinema Novo who in the 1960s and 1970s took up the banner of the African culture of resistance to the ideology of branqueamento (whitening) of Brazilian culture; among them, the two mentioned in this essay, Glauber Rocha and Nelson Pereira dos Santos. In music, poet Vinicius de Moraes and musician Baden Powell recorded the album "Os Afro-Sambas" (1966) which contained songs about Yoruba deities such as Iemanj‡, Xango and Ossanha. De Moraes described the effort thus, "... realizar un novo sincretismo: carioquizar, dentro do espirito do samba moderno, o candomblŽ afro brasile–o, dando-lhe ao mesmo tempo uma dimens‹o mais universal."2 (to undertake a new syncretism: to make the Afro-Brazilian candomblŽ in the style from Rio de Janeiro, within the spirit of modern samba, giving it at the same time a more universal dimension). Cravo Neto's contribution to this "new syncreticism" was to bring his sculptorical and staging sensitivities into the field of photography when the medium in Latin America was politically committed to its documentary mode.   For the middle class Latin American artist, the cultural manifestations which may not seem linked genetically to her/him are often the very ones that nurture her/him since childhood. This relationship is illustrated in images like "Shelter" (1990), where a fair-skinned child is held in dark-skinned arms. Conflicts with one's nurturing world arise as one's historical awareness matures and it becomes poignantly clear that one belongs simultaneously to the culture of the victors who write official historiography and also that of the victims, whose history official historiography hides. It is a very pressing conflict because inaction implicates you as accomplice. When resolution is sought in art its aim is to restore the vision, value, and history of those marginalized from mainstream culture and for the artist, to culturally find her/himself in the world.   The African, Amazonian and European beliefs, customs, habits, values, rituals, and myths penetrate so deeply in the psyche of the Brazilian artist that art becomes a cathartic potion that brings it all out. Through art the artist may become all manifestations and none, he becomes predator and prey, slave and master, observer and observed. Cravo Neto searches with the medium of photography like the Amazonian shaman who drinks an ayahuasca potion so he can journey to the self of the jaguar, the howler monkey, the sloth, the anaconda, the toucan and the pink dolphin. In his journey across selves the shaman looks at his own persona and at the world through the eyes of his hosts in order to seek his own self in the world. After all, isn't what we are some summation of how others look at us and how we look at them?   Cravo Neto's inclusion of his own son, mother and father in this journey of self-discovery sustain this interpretation of his work. His mother's forehead and his father's gaze framed by his own fingers, are not exactly peaceable depictions. There is tension and anguish in them. Putting aside personal realities, their tense involvement in Cravo Neto's larger opus leads one to believe that the transmission of culture from generation to generation takes place with friction. It is a conclusion which echoes Freudian behavioral archetypes which typically allude to Greek-Roman mythologies. Saturn devouring his own children is a powerful metaphor for extreme authoritarianism, for the past imposing itself on the present, for cultural dominance, etc. That Cravo Neto alternates OdŽ with Saturn, voodoo with satyrs, points to either a commonality of all mythical cosmologies or their syncretism in Brazilian culture.   Staged photography is Cravo Neto's central poetics. He not only stages rituals as might be the case with "Sacrifice V" (1989); but also actual mythologies like "Saturno" (1992). This histrionics of the photographic act, also refer us back to filmmakers like Glauber Rocha. In his film Antonio das Mortes (1969), Rocha's aesthetic of artificiality is not contrary to the veracity of the documentary. Instead, it is an alternative way to enunciate the facts of society, history and culture. It is a way, also, that dispels the deceptive verisimilitude of First World Cinema. For Cravo Neto, the studio is the place of revelation, construal and memory. It is also a place where the artist's inclinations converge and blend: sculpture comes alive, photographs gain texture and depth, actors direct and incarnate, props become elements of an installation, objects metamorphose into amulets, optical effects synaesthesize acoustic features. Cravo Neto's use of photography as a medium (a transfiguring potion) transports the mind, transforms reality, and translates symbols from text to image, from a datum in the subconscious to a representation of the expressive mind. His work probes into the wealth of myths that inhabit him and quite possibly, us.   Fernando Castro R. Houston, Texas You may contact Fernando Castro R. at: eusebio9@earthlink.net   1. Luca Cavalli-Sforza, Paolo Menozzi, and Alberto Piazza.The History and Geography of Human Genes. Princeton University Press:1995. (back) 2. "To bring about a new syncretism: To turn carioca, within the spirit of modern samba, the Brazilian candomble, giving it a more universal dimension". (back)       http://www.zonezero.com/magazine/articles/castro/cravoen.html      
Friday, 21 July 2000
Author:Chris Keeley
  Date: Tue, 18 Jul 2000 23:47:47 -0400   EXCELLENT very impressive Youre doing such a great job. Zone Zero is the Best Photography Site in the world   Love and Peace Chris k   -- Have a Wonderful Day , Keep in Touch C h r i s K e e l e y , MSW I n t e r v e n t i o n O r g a n i z a t i o n 4000 Tunlaw Road NW # 1119 Washington D.C. 20007-4838 U . S . A . Phone : ( 202 ) 3 3 7 . 0 0 2 2 F A X : ( 202 ) 3 3 7 . 4 4 4 1 C E L L : ( 202 ) 6 0 7 . 4 4 6 6 http://intervention.org/  
Tuesday, 18 July 2000
Author:Christine Mika
  Date: Tue, 18 Jul 2000 22:22:10 -0400   I love your site. It is the best photographic or photo based I have found. I view it all the time.   Thank you. chris  
Tuesday, 18 July 2000
Author:Sophia Isajiw
  Date: Tue, 18 Jul 2000 23:13:12 -0500   Thank you, Pedro!   And let me take the opportunity to say that I love what you're doing with zonezero, your thinking and approach. fresh and honest.   thank you for your site/sight! -sophia.   ----------------------- Date: Sun, 16 Jul 2000 23:13:12 -0500   Not to worry, we will change your address right away. Thanks for letting us know. Best regards Pedro Meyer   ----------------------- Just a quick notification that my email address is changing as of AUGUST 1, 2000. Thank you! Sophia Isajiw  
Tuesday, 18 July 2000
Author:Astrid Mc Millan
  Date: Mon, 17 Jul 2000 16:46:45 -0400   Hola soy Astrid Mc Millan, vivo en Chile y quiero recibir información periodica de Uds.   Estoy estudiando Fotografía y Uds. han sido una fuente importante de información para mis investigaciones..   Hice un trabajo sobre Mariana Yampolsky y fue muy util la pagina con su trabajo.   gracias!   Me gusta mucho ZoneZero  
Monday, 17 July 2000
Author:María Teresa Hita Aguilar
  Date: Tue, 11 Jul 2000 10:50:24 -0600   Visité su página y me gustó mucho, estoy en el equipo que desarrolla una página de Internet llamada Ciberhabitat, Ciudad de la Informática, sitio educativo sobre esa materia. felicidades   Lic. María Teresa Hita Aguilar Subdirección de Diseño y Operación Museo de la Informática www.ciberhabitat.com.mx Tel. 52 78 10 59 Fax 55 98 76 26  
Tuesday, 11 July 2000
Author:Esther Parada
  Date: Wed, 10 Jul 2000 19:42:20 +0800   Dear Pedro: I wrote you briefly not too long ago, telling you how much I've enjoyed your "time warp" family portraits. I also loved the Pokemon Adventure collaboration with Julito; and I've wanted to tell you how much I benefited from the network of connections made possible through Zonezero: I travelled to Ecuador over the Xmas/ New Year holiday (in spite of dire volcano & Y2K warnings!) with a couple of colleagues from the University of Illinois. Before I left Chicago, I e-mailed several Ecuadorian photographers whom I had met through their Zonezero portfolios (also through Manual's "digital imaging forum" site - http://www.art.uh.edu/dif). Several of them responded (including Maria Teresa Garcia, Judy Bustamante, Lucia Chiriboga, Jorge Espinosa, Diego Cifuentes) and I was able to meet them in Quito, see their work, and even offered a one-day workshop arranged through the Piecandela group. Anyway, it was a great instance of Internet/working - at the virtual and physical level.   Gracias! I'm hoping to continue and extend that in many ways...   Esther Parada Professor of Photography School of Art & Design (M/C 036) University of Illinois at Chicago 106 Jefferson Hall 929 W. Harrison St. Chicago, IL 60607-7038 TEL: 312-996-3337 (A & D Office) 312-996-5412 (Photo Office) FAX: 312-413-2333 (A & D Office)  
Monday, 10 July 2000
Author:Raffaele Felice Gallo
  Date: Fri, 07 Jul 2000 10:09:21 +0200   Salve, mi chiamo Raffaele Felice Gallo e sono un artista italiano che da qualche tempo segue la vostra attività. Per me ZONEZERO è il sito più bello e suggestivo che esista nella Rete.   Nulla mi ha dato così tante emozioni. Così ho effettuato un Link con il vostro Sito presso Amici di Jactus.   Jactus è un'iniziativa molto giovane ma già piuttosto affermata che sto costruendo da solo. Considero comunque ZONEZERO una fonte di stile sobrietà e di ottimo gusto. Cordialità, saluti e ammirazione. Raffaele F. Gallo   Raffaele F. Gallo, portfolio   ---------------------------- PrimaVeraArte 2000 5° edizione 160 partecipanti 262 fotografie documentarie 20 Mb. di spazio web Art director, ideatore-realizzatore: Prof. Raffaele Felice Gallo Scuola Media "Menchetti" Ostra (An) Computer Apple G3 Fotocamera digitale Epson 750 Z ---------------------------------------------------  
Friday, 07 July 2000
Author:Allen Takichi Maertz
  Date: Sun, 02 Jul 2000 21:12:59 +0000   Your site was recommended to me by Francis Crisafio and has since become my favorite (and only) site that I turn to for some down time on the web as I already work long hours in digital by running my own archival digital printing studio. (I'm a photographer also)   You have really proved that quality of consciousness is the thing that really matters with all the blinding glitz of technology displacing meaning. Thanks for putting up the strong work.   Allen Maertz  
Sunday, 02 July 2000
Author:Pedro Meyer
      I. The Elections   The people of Mexico have spoken. The political party that has been in power for over seventy years straight -making it the oldest in the world- has to go. This was the outcome of the presidential elections this past July 2nd. I mention this in order to point out certain parallels with what is happening in the digital world, and more specifically, in relation to photography.   One would assume that people could easily be swayed to vote for change, not necessarily for the sake of change itself, but for new options that could greatly improve upon the status quo; especially as there are so many issues that speak to a change in power. That, however, was not the case. Not everyone sees eye-to-eye in the need for new leadership. In fact, although a majority of Mexicans voted for opposition parties (45 percent voted for the president-elect, and 18 percent for other parties), there were still 37 percent who voted to keep the present ruling party in power. They did not see any advantage to change; they feared loosing the benefits they have, modest as these might be.   Mind you, the rising tide of those willing to vote for change in this election did not gain its strength overnight; the outcome was the result of at least twelve years of effort by the parties involved. But it is only now that the debate can commence regarding how to implement such changes. This part is never easy. Challenging? Yes. Promising? Of course. But only with a lot of struggle in between.   II. The Vote for Digital   With these references to the elections in Mexico, we can examine the digital world and discover similarities between the two. How, for instance, the tide of acceptance of digital photography has suddenly swelled in just this last year. As with the opposition in Mexico, what is happening now is not the result of one year's effort, but rather of many years. And in both exist those of the old guard, who believe their survival to hang in the balance.   There have been digital cameras, and computers with which to process images, and programs with which to fine-tune the picture for at least twenty years. Granted, the pictures one could create with them are a far cry from what can be achieved today with quite inexpensive equipment. The development was gradual, however at some point around six years ago the technology improved so dramatically and so fast that it has taken a lot of people by surprise.   For instance among the people who have been most surprised are the ones that sell all these tools. It used to be that a camera would be sold, well, in a photographic equipment store. Today you can find cameras also being offered of all places, next to TVs, refrigerators and vacuum cleaners in electronic and appliance stores, or next to computers in computer stores, or in office supply stores next to the cell phones and copying machines. In other words, a digital (still or video) camera has become ubiquitous, you can even buy all this stuff over the internet or from all sorts of catalog vendors. The same thing can be said for ink jet printers, the nominal equivalent of those past dark room days.   Lured in by advertising, people have been slowly voting for change, and thus started to buy digital equipment in ever increasing numbers. But now comes the hard part, teaching and training people how to best use all their newfound potential for creativity. Letís be frank about this, how much good information about photography can you get from the guy who is selling at the same time a camera and a refrigerator? Or what does the salesman know about making a good digital print using the ink jet printer they are selling you when he or she is also responsible to sell you telephones, among other items. Or how about the nondescript single paragraph next to the equipment being offered in catalogs, or on line stores.     Moving picture created with Nikon still camera Coolpix 990.   When I wrote, about a decade ago, that soon we would have cameras that would offer the option within the same camera of making a still or moving pictures, I was considered an eccentric with extravagant ideas. Today one can find "off the shelf" video cameras that store the moving image (video) on to tape, while the still images land on a mini hard disc (flash card). Or the reverse, one can find still image cameras, with the capability to create mini movies in addition to still pictures.   In either way, still or moving images, I can assure you of one thing. The salesmen offering the equipment don't have a clue of what they are selling nor for that matter neither do the many of the art schools now teaching about digital technologies. For the most part they do not know of all the new tools that are, as in a river, constantly coming out onto the market. And finally, thinking about the end user, who can actually be using such potential creative capabilities in a meaningful way, when the information about the tools is so limited, and the intellectual and artistic debate so scarce. For instance, the emerging synergy between the still and moving images in multimedia presentations. Or the use of sound in conjunction with still images.   In reality, salesmen or "associates" as they are euphemistically called in some instances, the moment they would actually have the knowledge we would like for them to have, are spirited off to more lucrative paying assignments. And the people in schools and the art world that might offer some help, are for the most part mired in the most Byzantine budgetary constrictions, which seldom allows them to acquire the new tools to which we made reference earlier. Thus impeding them to stay on top of the learning curve of what can be done, be that hardware or software.   The Internet is our best hope for realizing new creative capabilities in a meaningful way. Much faster than ever before, with the Internet we find information, solve problems, get inspiration for new ideas, and share what we have accomplished. We can go directly to a manufacturer for product information that vendors rarely have on hand, or we can buy direct on-line. For inspiration we can visit sites displaying ideas and current projects which in the past would have taken years to be published. And above all, we can network in forums and chat rooms; we can look for others who confronted a similar puzzle and found a solution. We can ask questions of someone within a like-minded community of people who enjoy sharing their knowledge.   If you go to your local camera store, observe how the digital section has been growing and growing. Most tell me that they are now selling volume wise, more digital cameras, than film based cameras. The two areas, traditional and digital, are living side by side, and they represent more or less like in other aspects of life, the dichotomy between traditions and a future that has already started today.   The story with printers is even more dramatic, as there is really no direct past to deal with. Their past is not as with cameras, other cameras, but other systems. How many view that the past of the printer is actually the combination of enlarger trays, trough, prongs, timer, easel, chemicals, safety lamps, etc. In other words the entire dark room has in essence become the equivalent to a printer. Granted you also need a computer and some software. But were I can use my computer for many other things, i.e. to write this story, which I can print it out on that same printer, I can hardly do anything other than enlarge pictures with my dark room equipment. I own a wonderful dark room, which I have not used now in over ten years, and yet I have never made better prints, or been more productive than now, when it became all digital.   III. The Democratic Process   In variance to the Mexican elections, a process that took place on a specific day, votes are being cast every day for adopting digital photography. And rest assured, the votes are being counted carefully by all those interested in such an outcome.   Those of us who use all these tools and who operate from the perspective of creators, we must make ourselves heard as to what we need and want. Take for instance the fact that prints from ink jet printers tended to fade rather quickly. The problem was addressed and largely resolved by numerous parties. We have now come to a point where some digital prints supposedly outlast even traditional silver halide prints. Now, that I call progress.   Another area desperately in need of improvement is that of the power supply. With so much equipment now electronic, we are faced with a nightmare of cables and power supplies that must be dragged along when we work outside of our immediate premises. It should not be so that when I take a journey, the bag of secondary equipment that I carry is heavier and more cumbersome than that which I will actually use. On my last trip I had nine power supplies with me! And that is not including the diversity of wall plugs needed, as they vary from one area of the world to the next. The main problem lies in that each company provides a unique re-charger, assuming that theirs is the only piece of equipment one uses. Has anyone given thought to creating a universal re-charger? To creating standards? The ideal would be a universal, solar battery re-charger. I am sure that this will come along sooner or later, as there is a demand for it and no technological hindrance. We need to make ourselves heard with respect to this issue.   A scant few weeks after our editorial went on line, the following announcement was made at MacWORLD: The code has been cracked on human DNA; Mexico has broken with the past by voting out the ruling party; movies are increasingly being made digitally; bio technology developments promise to keep us around for a bit longer and in a better condition of health; there seems to be water on Mars; the speed of world-wide, wireless communication is creating new social relationships; e-mail has brought us closer together; the Internet has opened up worlds of information beyond our wildest dreams; computers are getting faster, cheaper, and more intelligent. Living beings are being cloned. Change is the underlying common denominator in these and many more aspects of our present state of affairs. Not everyone desires, or even believes in, these changes, but that will not reverse the forces that have been unleashed. We might as well embrace these changes on our own terms, rather than wait for them to walk all over us. Be forewarned, they will not go away by ignoring them. That has already been tried before without success.   Remember one thing, your involvement and vote does count in this time of upheaval. Let us hear what you have to say about digital photography and all the changes at hand.   Pedro Meyer July, 2000 Coyoacán, Mexico         http://zonezero.com/editorial/julio00/july.html    
Saturday, 01 July 2000
Author:Debbie De Persenaire
  Date: Fri, 30 Jun 2000 12:11:33 -0400   Please register me for you website and mailings.   Your webiste is a great resource. Thanks, Debbie  
Friday, 30 June 2000
775. Tom
Author:Tom
  Date: Wed, 28 Jun 2000 14:06:17 -0400   I'm a photographer and graphic designer from Richmond, VA. I love your sight have kept it bookmarked for about 6 months now. Zone Zero in my opinion this is one of the best photography sites available. I plan to submit to the portfolio section in the future.  
Wednesday, 28 June 2000

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