Resources
Benoît Ancelot
After studying carpentry, cabinetry, and interior architecture at the école Boulle, Benoît Ancelot turned to photography. In addition to theatrical stagings of people, his work is also oriented toward perfume and cosmetics. From camera lens to image, a symbiosis is born, which serves as a veritable revelation for him, as well as a passion and means of expression. Through the magic of his images, he succeeds in astonishing (in spite of occasionally difficult weather) by his handling of light and his respect for nature.
Benoît Ancelot usually works with a Linhof Technorama 617 camera, a VPan camera, and an Xpan.
Photos: pages 28, 37, 50, and 94
Contact : www.ancelot-benoit.nom.fr
vincent b.
Born in 1965 in Avignon, France, vincent b. was prepared to do nothing with his life, and he continued in this way well into adulthood. Then, beginning at the age of 33, weakness forced him to make a lot of changes, as well as sire four children. Only photographing people in their normal environments at the present time, he is, along with Hikaru Ushizima, cofounder of the photographic collective chambre 5. This group, originally including Charles Thomas (deceased in 1999), Jana Caslavska, Ethan Lichtenfeld, Hikaru Ushizima, and vincent b., insists on making photographs in the streets. Lacking pompous ambition (“If you have a message to send, use the mail,” said Godard), they seek only to surprise. This circle of friends repeatedly undertakes the riskiest kinds of collaborations, the most disorganized types of group voyages, and the most desperate kinds of experiments. They adhere to a harsh principle, the “chambre 5 code of conduct,” which allows them to do just about anything except live peacefully from idleness.
vincent b. works with a Hasselblad camera equipped with a special 24 mm × 56 mm back.
Photos: pages 50 and 55
Contact : www.chambre5.com
Bertrand Bodin
Etymologically, “to photograph” means “to write with light.” This is what Bertrand Bodin, an artist of international renown, does with his images, which are there to “awaken the senses and educate ways of viewing.” He captures isolated moments where nature is the main source of inspiration, and his work testifies to this.
His photographs of nature, sports, mountains, animal life, and landscapes can be discovered in his books (most recent publication: Hautes-Alpes, des paysages, with text by Marianne Boilève, éditions Libris) and numerous postcards. They are also found in magazines, photo agencies, and advertising brochures throughout the world.
Bertrand Bodin uses the joining method with a Canon 1 DS camera and several lenses.
Photos: pages 88 and 98
Contact : www.bertrand-bodin.com
François-Xavier Bouchart
In 1970, François-Xavier Bouchart bought an old, rudimentary camera that used a technique fallen into disuse: panoramic photography with a mobile lens capable of embracing a 140° field of view (invented by Von Martens in Paris in 1846). The vision that it recreated allowed him to go beyond the fragmented 35 mm image. In addition to his work for the Centre Georges Pompidou, he undertook a laborious six-year project dealing with places known and frequented by the writer Marcel Proust. He claimed to be especially moved by this exceptional network of privileged and archetypal places, convinced that there was a correspondence between his own aesthetic vision and the spirit of the places mentioned in À la recherche du temps perdu. At the same time, this also was a recognition that these places were in the process of disappearing, because of the encroaching evolution of urbanism. His work would be exhibited and published both in France and the rest of the world. An architectural and landscape photographer, regularly publishing and exhibiting his work (including Gares d’Europe, Architecture exotique en Europe, HLM, Le temps de la Ville), François-Xavier Bouchart won the Prix Kodak de la critique photographique and was a member of the agence Archipress. He died prematurely at the age of 47.
Photos: pages 19, 69, 77, and 128
Contact : Nadine Beauthéac-Bouchart
2, rue René Panhard
75013 Paris
France-Tel.: 01 43 37 96 87
[email protected]
Jana Caslavska
This young Czech born in 1966 in Pribram, in the heart of Bohemia, has been interested in images from an early age. Born into a family of miners where the father worked for more than 40 years in the metal and uranium mines of Pribram, she soon learned to comb the areas of her neighborhood in search of traces left by industry. For her fourteenth birthday, her father gave her a half-frame, vertical format camera that a friend had brought back from Germany. And it is this same camera that she still uses to tell her tales.
At the age of 20, she was so fascinated by the fine images published in the newspaper Libération that she started to collect them, which is what inspired her to become a photographer in France. And whether it is her series of sequential images or her fragmented panoramas, there are never any montages. She forces herself to think about the order of images in making exposures like one uses words in a sentence. She has been a part of the collective chambre 5 since May 2000.
Photos: page 117
Contact : www.chambre5.com/[email protected]
Franck Charel
Franck Charel was born on August 11, 1971. After obtaining a post-graduate diploma in management, he met Yann Arthus-Bertrand in 1995 and became his assistant. He remained with him throughout the project La Terre vue du Ciel. After five years of traveling throughout the world next to Yann, he branched out on his own as an independent photographer. He specializes in the 360° panoramic format and photographs the most beautiful French landscapes. In 2002, GEO magazine published his journalistic photography, which consisted of panoramas of Brittany and Corsica. In 2003, Franck Charel published his first book with éditions du Chêne: Bretagne 360°. He uses a Roundshot Super 220 (120 film) equipped with a 50 mm lens. Franck Charel also works with more conventional formats for clients like Hennessy, Yves Rocher, and Lacoste.
Photos: pages XVIII[-]XIX, 22, 28, 62, 70, 74, and 114
Contact : 16, avenue Jean Mermoz
93460 Gournay-sur-Marne
France-Tel.: 06 20 53 71 22
www.franckcharel.com/[email protected]
Macduff Everton
Whether it is a portrait of an individual or a landscape, Macduff Everton knows how to lend meaning to a place. That’s a prerequisite in his discipline; and Andy Grundberg said the following about him: “Macduff Everton reinvents travel photography in the same way that Ansel Adams reinvented nineteenth century photographs of the Great West. He captures strange and significant moments in which time and the world seem to have stopped.” His work is in numerous public and private institutions like the Bibliothèque nationale de Paris, the Brooklyn Museum in New York, the British Museum in London, among others. Everton has exhibited his photographs in his own country and throughout the world. He has also contributed to several books on archaeology. His most recent work, The Code of Kings: The Language of Seven Sacred Temples & Tombs, deals with Mayan Amerindian sites. Macduff Everton uses a Noblex 150 camera.
Photos: pages XXII[-]XXIII, 4, 12, 22, 27, 28, 77, and 133
Contact : 3905 State St., #7-213
Santa Barbara, CA 93105, USA
Tel.: (617) 898[-]0568
www.macduffeverton.com
[email protected]
Fascinated with the panoramic format since the age of 14, Arnaud Frich stopped studying science at the university level a few years ago, in order to devote himself to professional photography. He became freelance in 2001. Photographic author, nstructor, and article writer in specialized magazines and journals, Arnaud Frich also runs his own Internet site where the most visited headings are, apart from his portfolio, his practical guides to color management and panoramic photographic technique.
Arnaud Frich works with a Noblex 150, the joining method, and stitching software.
Photos: cover photo and pages XX[-]XXI, 2, 6, 7, 8, 9, 14, 17, 18, 20, 21, 23, 27, 30, 32, 33, 34, 60, 65, 73, 77, 78, 79, 80, 81, 82, 84, 85, 86, 87, 89, 91, 93, 96, 100, 103, 104, 106, 110, 112, 116, 118, 119, 121, 123, 126, 127, 131, and 135
Contact : 13, rue Saint Esprit
63000 Clermont-Ferrand, France
Tel.: 00 33 6 20 03 52 45
www.arnaudfrichphoto.com
[email protected]
Jean-Baptiste Leroux
Jean-Baptiste Leroux was born in Touraine, a region known as “the Garden of France.” He began his work on the jardins á Courances in the 1980s. The harmony and equilibrium of this large, classical-style park charmed him, and it’s in one of the large rooms of the park’s manor that he had his first exhibit, in 1985. This would be the beginning of his work on gardens and landscapes.
One exhibit, Art du jardin, dating to June 2003, was organized by Hachette Filipacchi in the Parc de Saint-Cloud, France. His next publication, Jardins du désert, with text by Mic Chamblas-Poton, was published by Actes Sud in 2004. Jean-Baptiste Leroux works with a Linhof Technorama 6 × 17 camera and an XPan
Photos: page 130
Contact : Tel.: 06 07 05 95 66
[email protected]
Aurore de la Morinerie
Born in 1962 and practicing photography since the age of 15, Aurore de la Morinerie produced her first black-and-white journalistic panoramas (with an XPan camera) for the newspaper Le Figaro. This experience gave her the aspiration to present and share her work. Her primary activity, making wash drawings for book and magazine publications, allows her photography to evolve as a parallel, freely and without constraint. The series has expanded and grown richer over the years: Asia and the Orient, romantic ruins, portraits, botanical gardens, and light and abstraction. An exhibit on this last theme took place in 2004.
Photos: pages XVI[-]XVII, 41, and 45
Contact : 14, rue Rottenbourg
75012 Paris, France
Tel.: 06 12 97 48 34
[email protected]
Christophe Noël
After studying to be a mechanic, Christophe Noël spent a year of military service on the ship Marion Dufresne, which was stationed in the Kerguelen Islands in the middle of the Indian Ocean. There, he taught himself photography and decided to change his professional orientation upon his return to the French mainland. In 2000, he entered the centre IRIS, Paris, to study journalistic and studio photography, and then worked as a photographic assistant for the magazine Elle and as a photographer for the Opale agency. In 2003, at the age of 28, he exhibited some of his work during the mission photographique du Conseil général de Seine-Saint-Denis, an exhibition that also was shown from March 2 to May 29, 2004 at the Forum culturel de Blanc-Mesnil.
At the present time, Christophe Noël is looking to find a gallery that will show his photography. He works with a 4 × 5 camera and makes his joined images using PhotoShop.
Photos pages 108 and 118
Contact : 73, boulevard Ornano
75018 Paris, France
Tel.: 01 42 55 30 31 / 06 16 99 38 06
www.photographie-multimedia.com
www.mission2003.htm
[email protected]
David J. Osborn
After studying fine arts (specializing in graphic design), David J. Osborn spent many years working as a photojournalist for different agencies like Reuters and the Associated Press. In 1989, he moved to Australia where he set up a studio of “institutional” photographs: portraits of the business heads, annual meetings, and so forth. Returning to Great Britain in 2001, he realized how much he had missed the beauty of the British landscape. His black-and-white panoramic photographs of the English, Scottish, and Welsh countryside, made with an Art Panorama 6 × 17, have traveled around the world.
Photos: pages XII[-]XIII, 10, 26, 38, 50, 59, and 140
Contact : Britishpanoramic
120 Dalrymple Close, London N14 4LQ
United Kingdom Tel.: 0208 882 8958
www.britishpanoramics.com
Ex-cameraman and documentary film-maker, incurable traveler and untiring Parisian street-comber, this certifiable eccentric has returned to his first love: capturing, in complete artistic freedom, the incredible evolution of his city and its denizens, both in color and in panorama.
Within the limits of his project and the seclusion of his studio, he presents his paradoxical work of a “young” photographer in full maturity to a growing circle of institutions, alerted photography-lovers, researchers, and collectors. Didier Roubinet works with an XPan.
Photos: pages 35 and 37
Contact : 6, rue de Kabylie
75019 Paris, France
www.movingParis.com
[email protected]
Hervé Sentucq
Photographer-author born in 1970, Hervé Sentucq specializes in the panoramic photography of natural and urban landscapes. After studying science, he taught in secondary school before becoming a professional photographer a few years back. He is regularly on assignment in France and Scotland, two lands possessing a large number of diverse landscapes of unsuspecting beauty. His work is primarily oriented toward publication and advertising. In 2004, his book Horizons de Normandie was released, in joint publication with Anako. Hervé Sentucq regularly organizes exhibits, conferences, and slide shows throughout France. He uses a Fuji GXII 617 camera
Photos: pages XIV[-]XV, 16, 17, 21, 24, 34, 36, 40, 47, 52, 54, and 56
Contact : Panoram’Art
72, rue de la Colonie, 75013 Paris
Tel.: 01 45 81 62 18 / 06 09 35 74 75
www.panoram-art.com
[email protected]
Peet Simard
A Canadian photographer living in France for over 20 years, Peet Simard is fascinated by nature and the urban milieu, among other things. He works as a publicity photographer for large French and international companies, notably in the domains of architecture and still life. At present, he lives close to Paris with his wife and their four daughters.
Peet Simard makes panoramic photographs with an XPan and a Fuji 617 camera.
Photos: pages 57, 95, and 143
Contact : 7, avenue des Cigonges
91220 Bretigny-sur-Orge
Tel.: 01 60 85 34 75 / 06 07 37 31 84
www.parisartphoto.com
[email protected]
Josef Sudek
Nicknamed “the Poet of Prague” because this city and its surroundings were the basis of his photographic work, Josef Sudek (1896-1976) is considered a master of still-life (his most famous still-lifes were taken by the window of his studio in Prague) and natural landscape photography. His photographs characteristically have an astonishingly rich tonal range. Far from the concerns of realistic representation, his work dealing with light, both diffuse and harsh, and the presence of cloud-covered skies come together to create a melancholic, romantic, and sometimes dark atmosphere.
Josef Sudek photographed Prague with 35 mm film and used a swing-lens camera.
Photos: page XI
Contact : Prague Museum of Decorative Arts
[email protected]
Hikaru Ushizima
Born in 1929 in Fukuoka, southern Japan, Hikaru Ushizima quickly made a name for himself at the Tokyo Conservatory (the music college of Tokyo). A brilliant student, he was then sent to Italy for a number of years. Born into a rich and cultivated family from Alita, a small town known for its traditional pottery, he was taught Japanese traditions from a very early age. Then, after some curious wanderings that he refuses to talk about (he was the drinking buddy of the photographer Masahisa Fukase), he eagerly took up photography. Hikaru Ushizima has exhibited his square-format photographs in numerous solo and group exhibitions in Europe, the United States and Japan. He is the eldest member of the group chambre 5, but, as he likes to say, “not the most senile.”
Ushizima shares his time between Paris and Biarritz, France, where he often stays at the hôtel du Palais. It was Florence, his wife, who had the idea to name the group after the number of their room. His long collaboration with his young friend vincent b. has resulted in a large number of vertical panoramas inspired by Kakemono, a Japanese painting technique on long silk or paper, which is hung vertically.
Photos: page 55
Contact : www.chambre5.com
[email protected]
Equipment and Software
Panavue
ImageAssembler 3.0, assembling software
Realviz
Joining software, Stitcher 3.5, 4.0, and EZ 1.0
Panorama Factory
Joining software
www.tawbaware.com/ptasmblr.htm
Noblex
Swing-lens cameras
Cambo
View cameras and Cambo Wide DS (4″ × 5″ and 6″ × 12″)
Fuji
Traditional films and cameras
Manfrotto
Tripods and 303, 303+, and 303 SPH panoramic ball-and-socket heads
Kaidan
Panoramic tripod heads and accessories
EGG Solution
Based on a 360° exposure using a circular mirror and redirecting the image via software
Gitzo
Carbon or aluminum tripods
Lowepro
Photo backpacks
Epson
Flatbed scanners, printers, and paper cut to panoramic format sizes
Silvestri
6 × 12 panoramic cameras
Linhof
6 × 12 and 6 × 17 cameras
Mamiya
Medium-format cameras with panoramic backs
Hasselblad
Medium-format and XPan cameras
Spheron
Digital panoramic cameras
Eyescan
Traditional medium-format and digital panoramic cameras
Roundshot
Traditional and digital panoramic cameras
Scantech
“Le Voyageur” traditional panoramic camera and art gallery (sells prints)
www.perso.wanadoo.fr/panorama/
Imacon
Professional scanners up to 5″ × 7″ and mediumformat digital backs
Gilde
6 × 12 and 6 × 17 cameras
www.arnaudfichphoto.com/guide_photo_panoramique.htm
hoped to make this guide as complementary to the book as possible. Therefore, you will find several other resources on panoramic photo here, as well as various tutorials, like a complete guide to color management, which is found at www.arnaudfrichphoto.com/calibrage_gestion_couleurs.htm.
French-language reference site that is seriously devoted to large-format photography. Numerous articles on large-format panoramic photography and a very lively discussion group including different specialists.
Yvon Haze, a photographer who loves panoramic photography, and therefore is aware of its specific problems, makes prints for amateurs and professionals, using the best archival methods.
www.tawbaware.com/ptasmblr.htm
One of the best English-language tutorials for the Panorama Tools software.
One the rare French-language sites offering a tutorial for Panorama Tools (under the heading, Astuces).
Primary English-language source on joined panoramic photography.
Associations
AEPP
Association européenne des photographes panoramistes
Le Cercle des Panoramistes
Le Barcelone B24, 145, rue G. Janvier
34070 Montpellier
France
[email protected]
Our goal is obviously not to distinguish ourselves from the IAPP on reasons of principle. We simply want to allow European photographers to express themselves differently and in the framework of an organization representing our own continent. Nevertheless, it is true that this will force us to work on subjects and in conditions that are noticeably different from our colleagues in the New World and other continents.
“A manner of being and working, of seeing and doing, of learning and expressing, which is the reflection of our different cultures and which we reveal through our multiple and varied sensitivities.”
IAPP
International Association of Panoramic Photographers
American association for those who speak English. Numerous connections to panoramic photographers around the world.
Fine Art Books
Marcel Proust, la figure des pays, Francois-Xavier Bouchart, editions Flammarion, 1999.
Bretagne 360°, Franck Charel, editions du Chêne, 2003.
The Western Horizon, Macduff Everton, Harry N. Abrams Publisher, 2000.
Alpes, ou le tarot des cimes, Jean-Baptiste Leroux, editions du Chêne, 1998.
Écosse, Philippe Plisson, editions du Chêne, 1998.
Chaos, Joseph Koudelka, Phaïdon, 1999.
Prague en panoramique, Josef Sudek, editions Odéon.
Paris en panoramique, Jarolsav Poncar, editions Verlag, Köln, 1997.
End Time City, Michaël Ackerman, Nathan, Delpire, Paris 1999.
David Hilliard, David Hillaird, Editiones Universidad de Salamanca, 1999.
New Zeland Landscapes, Andris Apse, Craig Potton Publishing, 2001.
Technical Books
La photo panoramique, Frédéric Chehu, editions VM, Paris, 2003.
Photographie interactive avec QuickTime VR, Gérard Perron, editions Eyrolles, Paris 2002.
Stretch, Nick Meers, Rotovision, Suisse, 2003.
Panoramic Photography, Joseph Meehan, Amphoto, New York, re-edited in 1996.
Photographic History
Nouvelle histoire de la photographie, under the direction of Michel Frizot, Bordas, Paris, 1995.
Dictionnaire mondial de la photographie, des origins à nos jours, Larousse, Paris, 1994.
Histoire de la photographie, under the direction of J.-C. Lemagny and A. Rouillé, Bordas, Paris, 1993.
Exposure and Development
La prise de vue et le développement, Thibaut Saint-James, La Compagnie Internationale du livre, Paris, 1987.
Le Zone Système, P-E Baïda, P. Bertholdy, M. Cégretin, Les Cahiers de la photographie, 1993.
The Camera, The Negative, and The Print, Ansel Adams, Little, Brown & Company, Boston, 1983.
Initiation au Zone Système, Daniel Drouard, 2002.
Noir & blanc, de la prise de vue au triage, Philippe Bachelier, editions VM, Paris, 1998.
La pratique du moyen format, René Bouillot, editions VM, Paris 1993.
Large Format Nature Photography,
Jack Dykinga,
Amphoto Books, New York, 2001.
Photographie en grand format,
Pierre Groulx,
editions Modulo, Canada, 2001.
Système des zones et la sensitométrie,
Michel Hébert,
editions Modulo, Canada, 2001.
Bases et applications, grand format creative, Urs Tillmanns, SinarEdition, 1992.
Framing and Composition
Paysages en couleur, Lee Frost, éditions VM, Paris, 1999.
Le langage de l’image, René Bouillot and Bernard Martinez, éditions VM, Paris, 2000.
Paysages naturels, grand format créatif, Urs Tillmanns, SinarEdition, 1994.
L’image, Michael Freeman, éditions VM, Paris, 1988.
La photographie de paysage, Charlie White, éditions VM, Paris.
Digital Exposure and Printing
L’impression numérique, réaliser des triages de qualité, Harald Johnson, editions Eyrolles, Paris, 2003.
PhotoShop 7 pour les photographes
Martin Evening,
éditions Eyrolles, Paris, 2002.
PhotoShop 7, Pierre Labbe, editions Eyrolles, Paris, 2002.
PhotoShop 7, Master class, Barry Haynes and Wendy Crumpler, éditions Eyrolles, Paris, 2002.
PhotoShop CS pour les photographes, Martin Evening, éditions Eyrolles, Paris, 2004.
PhotoShop CS, Pierre Labbe, éditions Eyrolles, Paris, 2004.
Color Management
Gestion de la couleur, calibrage et profiles ICC, Gérard Niemetzky, editions Eyrolles, Paris, 2002.
Gestions des couleurs, B. Fraser, C. Murphy, and F. Bunting, Peachpit Press, Paris, 2003.