Reed to Sponsor Family Portrait Day at Denver Botanic Gardens

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CPAC Fam Port Day-1 CPAC LogoCPAC – We are helping sponsor a fundraiser for CPAC and Denver Botanical Gardens called Family Portrait Day.  6 photogs are shooting at the gardens Oct 6th, 2013 with proceeds going to both non-profits. We are supplying a coupon to each family that signs up for a portrait to get their prints made at Reed. In turn we will contribute 50% of the proceeds to CPAC and DBG

Download the event flyer here: CPAC Family Portrait Day Flyer

About CPAC:
The Colorado Photographic Arts Center is dedicated to fostering the understanding and appreciation of photography in all aspects and genres through promotion, exhibition, and education. Our purpose is to be a premier destination for the photographic arts and to benefit our existing photographic culture by nurturing new talent, expanding concepts, generating skills, piquing interest, and contributing to a sustainable market for collectors and artists. Funding is provided by income from classes and workshops, annual membership dues, donations, and grants. CPAC receives grants from the Scientific and Cultural Facilities District (SCFD), Tier III.

If you can’t find what you are looking for…

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Looking for something we don’t offer? First we recommend you use our built-in search feature to locate it here on our site. If what you are looking for is a product or service we don’t provide, we would love to hear from you! We are always open to new ideas and fresh ways we can serve the creative professional.

Now, if you just have to leave our site…

Below is a short list of directory sites tailored to the creative professional. Some of these sites offer back-links to help you with your website’s SEO.  We have zero affiliation with these sites so we have no control over their content or the safety of you and your data when you leave. Be careful, it’s a jungle out there.

http://www.freephotogallery.info

Colorado Photography Festival 2013

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Held from August 10th – 15th, this 6 day workshop is chock full of classes, workshops and photo adventures. The event starts off with back to back presentations by 5 ultra-talented photographers who will provide thought provoking discussions and slide shows that will educate and inspire. The kick-off presentation by Glenn Randal (www.glennrandall.com) is destined to be a great opportunity for the Auto-exposure only crowd seeking to get the most out of their cameras by learning the benefits and intricacies of going manual for maximum creative control. Grant Collier’s

presentation on night-time landscape photography (www.gcollier.com) will surely be a crowd pleaser. Grant’s portfolio and experience in shooting night-scapes under the stars is nearly unmatched. If you have ever experienced shutter-block ( my name for the photographers equivalent to writer’s block), Dan Ballard’s (www.danballardphotography.com/) presentation on unlocking your creative potential is sure to provide you with tools to expand your artistic vocabulary while providing some preventative medicine for those times when shutter-block show up.

There are many outstanding workshops available throughout the remaining 5 days and some are so promising they are virtually guaranteed to fill up fast. Click here to learn more and register for this event.

Reed Art & Imaging is proud to again sponsor the Colorado Photography Festival.

5 Ways Your Camera Can Get You Busted

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One of the basic rules of citizen and professional journalism is:

“If it’s in public view and you’re on public property, you have the right to photograph it.”

Most of us would rather spend a week in the Department of Motor Vehicles before intentionally breaking the law. Unfortunately, as in all of life, the above rule is subject to many grey areas, areas that, without some forethought and a healthy dose of common sense, can spell legal trouble for Joe or Jane Photographer. So there are some caveats to consider before planning your next public photo venture.

An addendum to the first rule:

“Just because you have the right to take a picture does not always mean it’s prudent to do so.”

Also remember, there’s a big difference between taking a photo and how a photo is utilized, especially in regards to its commercial use. The issue of copyright is vast and ever-changing but that’s another story for another day. This list will focus on keeping you out of hot water during the photo op.

 

1) The Clear As Mud “Reasonable Expectation of Privacy” Rule

Be it amateur or professional photography, photojournalism or just plain photo-opportunism, the old catch-all rule of “reasonable expectation of privacy” is being strained to its limits.

Digital photography, the Internet, and most of all, the fact that an estimated 87% of the population does not leave the house these days without a camera (phone), ensures that everyone is a potential media maven.

Though they are bound by the same rules as professionals; I would guess, of that 87%— 86.9% are ignorant of privacy laws and have little interest in learning about them.

So this commentary is aimed at you, the serious and semi-serious devotee who works at and respects the art and craft of photography.

“Reasonable expectation of privacy” often comes down to context. Using a seemingly innocuous photo of a person (especially if they are well known) to illustrate a controversial article or story, is playing with legal fire.

On the other hand, elected officials and well known public figures give up certain rights to privacy when they make the decision to enter the public arena (this is where the “clear as mud” part comes in).

Applying this to a more un-famous level, a violation of privacy can occur with:

“The intentional intrusion upon the solitude or seclusion of another or his private affairs or concerns that would be highly offensive to a reasonable person.” Restatement of Torts 2d, Section 652B

Again the “clear as mud” part takes effect when the term “highly offensive to a reasonable person” rears its ugly head.

A “reasonable person” is often described in legal terms as a “person in society who exercises average care, skill, and judgment in conduct and who serves as a comparative standard for determining liability”.

A reasonable person is NOT the narcissistic pinhead who ambushes that lovely photogenic, hopelessly in-love couple in the park by circling around them a lá Cecil Beaton, motor-drive clicking away, as he bellows at them to “Work it!!”

This is very likely to get you a civil suit or a punch in the nose, and in this litigious age, the punch in the nose might be the lesser of two evils.

 

2) Barging Into a National Park Thinking You’re Spike Lee

National parks may have certain restrictions particular to them. Before a frame can be exposed, anything that smacks of commercial photography may carry limitations and possibly liability considerations. The proprietors at Yellowstone Park, for example, will not be thrilled if you waltz in with your production company and expect to shoot your indie film at the expense of the stunning natural surroundings. Permits will likely be required in cases such as:

A) Activity taking place in restricted area(s) of the park.

B) Using any sets, props, crew, actors, etc., that are not part of the natural surroundings or facilities.

C) Administrative expenses that park officials may incur to monitor and coordinate activity.

These examples may sound extreme for the average photographer who just wants to get off the beaten path and snap a few stills, but if they apply to you, skirting the bounds of any one of these points is likely to attract unwanted attention from park officials. If, however, you are a commercial or pro photographer and plan to stay on the beaten path, the same park rules that apply to the average visitor will generally apply to you. In the end, rules and regulations can vary from state to state and are often selectively enforced, so always check with The Local Powers That Be.

 

3) Showing Unusual Interest in Government Buildings, Military Installations or Barak Obama’s House

Yes, things are vastly different in the post 911 world. The New Normal has not been kind to Joe and Jane Photographer, particularly as it relates to government and military installations. Here’s the gist of the US Code, Sec. “Photographing and sketching defense installations”:

“… it shall be unlawful to make any photograph, sketch, picture, drawing, map, or graphical representation of such vital military and naval installations or equipment without first obtaining permission… and promptly submitting the product obtained to such commanding officer or higher authority for censorship…”

If you want to argue citizen’s rights with a two hundred and seventy-five pound MP (military policeman), go right ahead, but as anyone who’s spent time in a military brig will tell you, it’s a guaranteed no-win proposition.

And besides, US Code, Sec. “Photographing and sketching defense installations” sez so.

 

4) Despite Their “Awww Factor”, Children Have Rights Too

Yes, kids are adorable and they make great photo subjects, but no matter how benign ones intent, following them around a public street or park like a deranged paparazzi will quickly attract the wrong kind of attention.

Even if they may not know them, the average passerby is generally protective enough of small children to get on their cell phone and alert the police. Again, even with the most innocent of intentions, a photographer can find themselves in real trouble over seemingly nothing.

Children are entitled to a reasonable expectation of privacy in public; the same rights as everyone else. There’s not much they can do discourage the random nut job with a camera— and they don’t have the punching ability of Sean Penn. So, to avoid jail, keep a healthy distance from the little ones, or at least clear it with their parents before snapping away.

 

5) Photographing the Police While They’re in the Process of Beating The Crap Out of Someone

Okay, that headline may sound a little hyperbolic, but this has become an ongoing issue with the advent and proliferation of digital photography amongst the general populace. To be clear, any US citizen has the legal right to photograph an officer of the law while he or she is in the act of doing their job in a public place. Assuming that you are photographing from a reasonably safe distance from the action, you should be on fairly solid legal ground. Problems can arise however, when said law officer perceives said photographer to be an “obstruction of justice”.

This is where it can get a little tricky. Apparently, “obstruction of justice” can be a subjective term amongst the law enforcement community and may be defined as anything from physically intervening between officer and his subject, to standing fifty feet away on an adjacent street corner picking ones nose. Ultimately, it is up to a judge to decide, but in the heat of the moment, It’s pretty much up to the officer to determine what is or what is not “obstruction of justice”.

So be careful, arguing with a policeman rarely ends well for anyone and will usually guarantee you an overnight stay in the Flat Iron Inn. Once again, let common sense prevail. Take a deep breadth, explain your case if you must, but in calm even tone with a minimum of hand gestures and body language.

And above all, never touch a police officer in any way. The law is heavily weighted in their favor to help them do a very difficult and dangerous job. If your camera, film or memory card is confiscated; let it play out in court. Nothing is guaranteed, but never try to bargain with an officer during a heated scenario like this.

http://gizmodo.com/5900680/7-rules-for-recording-police

 

 

This article does not constitute legal advice and is not meant to be taken as such. It does, however, encourage Common Sense. Local statutes may differ from state to state, county to county, etc.. It is always a good idea to check with the local authorities if you are in doubt about anything, different places may have restrictions that are unique to them.

Farewell To MoP

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Denver’s Month of Photography is over. The scope and talent that the local art community brought to this global event was impressive, and, we would venture to say, as ambitious as many of the larger urban centers.

Local offerings were many and eclectic; from a fascinating presentation by Jay Kinghorm on current publishing models in multimedia; to Navajo artist Will Wilson’s exhibition and discussion of not-so-classic portraiture of Native Americans. And of course, The Big Picture Project, an event that Reed Art & Imaging was honored and excited to participate in.

The ‘wheat pastes’ will be coming down soon but anticipation is already high for the next go-around in 2015.

As a devotee of the local art and photography scene, Reed Art & Imaging would like to join with the rest of the art community in thanking everyone who sponsored, exhibited and attended this important and stimulating event.

A special thanks must go out to Mark Sink for his invaluable leadership in making The Denver Month of Photography a raging success!

The Pinhole Camera: A Simple Revelation

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“Who would believe that so small a space could contain the image of all the universe?”

Thus spoke Leonardo Da Vinci as he waxed poetic on the mysteries and wonders of the human eye. He could have just as easily, though, been describing the mysteries and wonders of the camera obscura and its successor, the Pinhole Camera.

The methodology of pinhole optics was first recorded back in the 5th century B.C. when the Chinese philosopher Mo Tsu noticed that images appeared inverted when projected through a small hole or ‘pinhole’ in a darkened room. He later referred to this as a “collecting plate” or “locked treasure room”.

JodyAkers_Pinhole2

—Photo courtesy of Jody Akers

A century later, Aristotle noted that “sunlight traveling through small openings between the leaves of a tree, the holes of a sieve, the openings of wickerwork, and even interlaced fingers, will create circular patches of light on the ground.” (It is not known whether the great philosopher pursued the idea much beyond this observation.)

It was during Leonardo’s study of perspective in the 16th century, that the first technical description of pinhole projection appeared in his collection of notebooks, the Codex Atlanticus:

“When the images of illuminated objects pass through a small round hole into a very dark room…you will see on paper all those objects in their natural shapes and colors…Here the figures, here the colors, here all the images of every part of the universe are contracted to a point. O what a point is so marvelous!”

Translated from its original latin, camera for “room”, obscura for “dark”; the camera obscura can be any sealed, lightfast enclosure with a hole to admit ambient light, and an opposing inner surface to reflect and view the projected image. To a more or less degree, every illuminated object reflects light. The pinhole allows this reflected light to pass through the small opening (relative to the enclosure’s size) and project a perfectly linear, distortion free, albeit inverted, reflection of the subject.

—Photo courtesy of Jody Akers

—Photo courtesy of Jody Akers

Later refinements saw the addition of lenses and mirrors within the enclosure to ‘right’ the upside-down image—photographic principles that are still in use today.

A pinhole camera can be almost any size and constructed out of virtually anything in which you can place emulsion in and poke a [pin]hole. Egg shells, peanut shells, hollowed out peanuts, soup cans, spam cans, oatmeal boxes, old Macs, old cameras; the list goes on…

Justin Quinnell, a photographer in Great Britain, has devised a pinhole camera for your mouth. He’s dubbed it the “Smileycam”. And then there’s also the garbageman from Germany who’s turning dumpsters into pinhole cameras. What does he call it? The “Trashcam”, of course.

Photographer Jody Akers converted this old Speedgraphic into a Pinhole camera. Note the Grateful Dead patch "shutter".

Photographer Jody Akers converted this old Speed Graphic into a Pinhole camera. Note the Grateful Dead patch “shutter”. — Photo by Greg Osborne

A popular small-form pinhole is this 35mm film canister method.

The largest camera obscura in the world—the Camera Obscura in Aberystwyth, Wales, boasts a fourteen inch lens and reflects a 360 degree sweep of the surrounding sea and landscape. Yes, you can literally stand inside the camera/building!

Aside from the mere entertainment value of the camera obscura, some of the Renaissance and Dutch masters were reputed to have used this device in the creation of some of their most celebrated works, allowing them to achieve near photo-realistic, distortion-free perspective in the layout and composition of their paintings.

The transformation of the camera obscura from a viewing and drawing tool, to a true recording device, happened in 1850 when Scottish scientist Sir David Brewster took the first known pinhole photograph. He is also believed to have coined the term “pin-hole” in his 1856 book, The Stereoscope.

—Photo courtesy of John Harris

—Photo courtesy of John Harris

With the addition of the film component, the pinhole camera was born.

Today, pinhole art is considered a legitimate sub-genré of photography. In addition to its place in art, pinhole cameras have proven their value to the hard sciences through their use in space flight and for high energy photography in the nuclear industry’s laser plasma research.

Perhaps the defining characteristic of the pinhole is the absence of a “proper” lens. With only the atmosphere separating emulsion and subject, the camera’s depth of field is nearly infinite, wide angle images appear almost distortion-free.

Sounds simple enough, but the Pinhole is hardly without its quirks. Since the device operates without a viewfinder, framing ones subject can be a hit or miss proposition. Once, however, the photographer gains familiarity with his/her chosen camera, they will gain a feel for position and placement.

—Photo courtesy of John Harris

—Photo courtesy of John Harris

This placement, along with timing and exposure, relies heavily on the artist’s intuition and expertise. “Shutter” operation is a manual proposition, to say the least. Methods run the gamut, from electricians tape to, in the case of photographer Jody Aker’s modified Speed Graphic—a velcroed-on Grateful Dead patch.

Despite what some would call “limitations”, many accomplished fine art photographers revere this simplistic approach to their craft for the stripping away of technology that, may or may not, help in the creation of photographic art.

Twenty years ago, noted Colorado lensman, David Sharpe, felt “boxed in” by the sometimes tedious nature of traditional photography. He liked the way the Pinhole allowed for a more poetic interpretation of his subject matter—without the often cloying technology that had come to define modern photography. Hooked for good, Sharpe embraced the pinhole aesthetic and never looked back.

Although he agrees that the pinhole leaves a lot to chance, Sharpe actually likes not having to look through the viewfinder, relying instead on the intuitive feel that the pinhole requires of its adherents. “I love the alternative approach; the softer, not as ‘dead-on’ nature of this medium.”, David observes.

"Waterthread 24" by David Sharpe

“Waterthread 24” by David Sharpe

Sharpe’s platform of choice is the “small-form” film canister pinhole. Typically, he will bring 16 to 19 of these set-ups on photo excursions. Experimenting with different focal lengths and short exposure times, David has achieved amazing results with what he calls his “pinhole instamatics”.

Often, an artist will, at some point in their career, decide if they are photographing for the image or for the process. Many artists will agree that the process IS the art, or at least as important as the final image itself. The beauty of the pinhole camera, is that it lends itself so well to this creative process by almost forcing one to engage the subconscious creative power that technology often subverts.

The pinhole camera doesn’t overwhelm or try to ‘lead’ the artist with endless technology-driven choices. It is a collaborator that, by way of an almost misleading simplicity, works with the artist to reveal the art within.

"Waterthread 1" by David Sharpe

“Waterthread 1” by David Sharpe

Sound intriguing?

Get Pinholed!

You don’t have to be a professional artist-type to enjoy the existential rewards of Pinhole Photography

April 28th is Worldwide Pinhole Photography Day. To celebrate, we have made this week’s Facebook Photo Theme, drumroll please… “Pinhole” Drop by our Facebook Page and show us your stuff.

Have You Been Sucked-in by The Toy Camera’s Irresistible Lure?

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Fifty years ago, no one could have predicted that a novelty item, given away as consolation prizes at raffles and sold in the back of comic books, would blossom into a bona fide art movement. Although there are many makes and models, the rediscovery of Toy Camera photography can probably be traced to the now legendary Diana camera.

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An early 60’s Diana — Photo by Greg Osborne

Introduced in the early sixties; the 120 format Diana was sold as a cut-rate, novelty item manufactured in Hong Kong and wholesaled across the US by the Power Sales Company of Willow Grove, Pennsylvania.

The Diana set the template for the low tech photography aesthetic. Characterized by its rudimentary spring-loaded shutter, manual film advance and most notably, a plastic lens, the camera performed about as well as its cheap, light-leaking plastic body suggested.

Not really a toy and certainly not a serious camera in any sense of the word, the Toy Camera was destined to become a temporary glitch in the already cluttered toy and novelty landscape. It was to photography what the Easy Bake Oven was to the world of household kitchen appliances—a TOY.

Something, however, derailed the Toy’s path to cultural obscurity—it took really cool pictures!

Though it’s always hard to pinpoint exactly how or when these things get started, I like to imagine that around the late seventies or early eighties, some anonymous soul remembered the visual thrills that this unassuming little box produced in their childhood photo excursions. In search of something without really knowing what, and perhaps weary of modern photography’s soul-deadening technology, he or she dusted off the old Diana and the Toy Camera Revival was born.

Professionals, amateurs and art lovers everywhere are fascinated by the equalizing nature of this little plastic box. No complicated accessories, no thousand dollar lenses, and no megapixels, help to strip bare the art and science of serious photography.

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An owner-modified Holga. More serious looking than the Diana – but not really.
— Camera courtesy of John Harris — Photo by Greg Osborne

It comes down to the basics: your skill with the plastic box and your God-given EYE.

Yet, with that said, what many find so endearing about Toy photography is the way it lends itself so readily to the Happy Accident. It’s a little like handling nitroglycerine—or herding cats—you never quite know what’s going to happen. Many seasoned photographers wax poetic over the liberation from technology, the sheer sense of the unknown that this primitive tool allows them.

Aside from strict photo journalism, few other branches of photography are as distinctly purist in approach to their art. Though Toy Camera effects can easily be mimicked with apps like Instagram, Pixlromatic and Hipstamatic; and professional-grade programs like Photoshop and Painter, loyal adherents eschew these tricks in favor of recording, warts and all, that true moment in time.

The textured, sometimes haunting imagery that can be achieved with the Toy Camera so completely captures the ephemeral nature of life, that some professionals feel this pictorial offshoot captures the essence of what serious photography is and should be about.

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The Holga goes Hollywood! Camera courtesy of Stephanie Beck — Photo by Greg Osborne

With the addition of manufacturers and distributers like Holga, LOMO and Lomographische AG to feed the obsession, Toy Camera photography has evolved into a viable, worldwide, creative form.

Highly regarded exhibits at the Soho Photo Gallery in Tribeca, New York, and serious books like The Diana Show: Pictures Through a Plastic Lens by David Featherstone and the now classic, IOWA by Nancy Rexroth, also helped to legitimize and further the movement.

So what does Toy Photography have to do with Colorado? You might have noticed Reed Art & Imaging’s building at the corner of 9th and Federal, plastered with a melange of images—a few of which are great examples of what the Toy Camera can do.

Amazing effects can be accomplished with the Toy —Photo courtesy of Jody Akers

Amazing effects can be accomplished with the Toy
— Photo courtesy of Jody Akers

This was part of Reed’s sponsorship of this year’s Month of Photography (MoP). We also partnered with Mark Sink who founded The BIG PICTURE Colorado project here in Denver and who is a driving force in the local photography and creative scene.

Mark’s work and past association with people like Andy Warhol are well documented. What people may not know is that he has been a Toy Camera photographer and advocate since he was a boy. It was through his love for this process that he recently offered his Toy Camera Workshop to dozens of local enthusiasts. Reed Art & Imaging was fortunate enough to help out with film processing services for this worthy event.

Did I say film? Yes—Film is not dead!

We’ve been processing film for over 37 years and will continue to do so for as long as you need us. Of course, we do way more than simply process film. We encourage anyone who has not been into Reed Art & Imaging to come by and see for themselves the vast array of products and services that we can offer to creatives and non-creatives of all stripes.

Photo courtesy of Jody Akers

Photo courtesy of Jody Akers

We don’t just work here; we are working photographers, artists and enthusiasts. We live and breathe great images and great photography. Your creative vision is our priority. We are you.

Stop by and say hello. We’re here to answer questions, talk art and photography or anything else that you’re curious about—and that includes the light-leaking charm of the great Toy Camera!

The Last First Friday of MoP

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1stFriday_April_2013First Friday Art Walks in Denver are always a blast. The galleries open their doors to the public for later the normal viewing and a little “wine and cheese” type atmosphere. Whether you are in the Santa Fe Art District, known as the hub of the Denver art scene, or any of the seven others around town, you are bound to see amazing art and some fascinating characters.

The creative community in Denver is

Sticking Your Art Where It Doesn’t Belong; The Big Picture Project

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The Month of Photography is upon us! One of the events in Denver, Colorado for 2013 is The Big Picture street art project. Led by local photo impresario Mark Sink and co-hosted by Art-Plant and Artwork Network, The Big Picture plans to paper the outside walls of buildings around Denver with large format prints of images from local, national and international photographers. The first Big Picture in 2011, exchanged images not only with cities around the United States, but cities in South America, Switzerland, England, China, Mexico, Canada, France and Germany. The 2013 Big Picture will be sending and receiving photos from across the U.S.A. and around the world!

 

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Toulouse-Lautrec with on of his posters for the Moulin Rouge

“Street Art” is generally defined as: ‘art, often political or dealing with social themes, displayed on streets, sidewalks or walls of public spaces and often without permission of the property owner.’ There are quite a few types of media used in the creation of street art. The medium we normally associate with street art – paint, is actually fairly new on the scene. Bansky, building on the earlier paint-and-stencil work of John Fekner and Blek Le Rat has, over the past 15 years, become the most well known artist in that genre.

The medium of wheat-pasting paper on walls dates back to the nineteenth century and was used mostly for commercial purposes: advertising of products and events, especially circuses. Art and commerce began to merge in the 1890s when Toulouse-Lautrec’s posters for the Moulin Rouge, theaters and other events, papered the walls of buildings around Paris. Ernest Pignon-Ernest took wheat-pasting to a higher level and has been pasting amazing art projects on the walls of Naples,

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Shepard Fairey’s 2008 “Hope” political campaign poster

Soweto, Brest, Ramallah and more since the 1960s. In the United States, Shepard Fairey gained notoriety as a sticker and wheat-paste artist with his “Obey Giant” series and achieved national recognition with the 2008 Obama “Hope” poster.

 

Computers and wheat paste have joined forces to bring photography to the streets. Photo files submitted to the Big Picture are being emailed around the world to sister cities in the project. The files are then printed and pasted locally. The Colossal Reed Art & Imaging Galactic Headquarters (CRAIGHQ) building at the corner of North Ninth Avenue and Federal Blvd., was the first Denver location to be pasted to kick off The Big Picture Project for 2013. Mark Sink, Peter Davies and others in the Big Picture pasting crew were joined by Gary Reed, Barb Pullin, Jody Akers, Bob Jewett, and Merhia Madsen (and her daughters Annabelle and Maggie) from Reed Art & Imaging to put the first batch of images up on the walls. The work at Reed isn’t complete! In addition to more Big Picture images to arrive, Reeds’ employees will be pasting the building with their own fine art images in the weeks to come. Also to be included will be several images from the winners of Reeds’ recent facebook contest held in honor of The Big Picture Project and the Month of Photography. Make sure you stop by to see what’s new!

 

The Big Picture website will be posting a map of the locations where images have been pasted locally and around the world. Look for it so you can take your own tour and see the amazing art prints posted on the walls about town! If you’d like to get in on the project, Big Picture is taking submissions through March 15. So hurry on over to the Big Picture website for all the details and get your photographs on the street!

 

Click to see the e-book of Big Picture Project images from 2011, and watch for the 2013 book due out later this year!

 

Additional Links:

The Big Picture Facebook page has plenty of pictures of the pasting at Reed Art & Imaging.

Fresh Art Photography will be taking part in the Big Picture project.

YouTube: Ernest PIGNON-ERNEST – Les peintures urbaines (4:42) A retrospective of Pignon-Ernests’ wheat paste installations in HD!