Catherine McIntyre, like many fine artists, created traditional art for decades before encountering the versatility of digital imaging technology. Free of her Rotring pens and scalpel, she now uses Photoshop to create her montages. Visual Alchemy explores McIntyre’s sources of inspiration as well as her methods, offering an aesthetic guide to composition, color, texture and all of the other means of communication that artists have at their disposal. While these concepts and techniques make use of Photoshop, they will apply to any digital imaging program and indeed to any medium, whether traditional or digital. Featuring McIntyre’s own art as well as that of artists around the globe, Visual Alchemy is an invitation to discover the artistic possibilities of picture making through digital montage.

The sixteen-volume set comprising the LNCS volumes 11205-11220 constitutes the refereed proceedings of the 15th European Conference on Computer Vision, ECCV 2018, held in Munich, Germany, in September 2018.The 776 revised papers presented were carefully reviewed and selected from 2439 submissions. The papers are organized in topical sections on learning for vision; computational photography; human analysis; human sensing; stereo and reconstruction; optimization; matching and recognition; video attention; and poster sessions.

In this hilariously sweet story about an opposites-attract friendship, chock-full of Yiddish humor, a girl and her best bird friend’s perfect day turns into a perfect opportunity to see things differently. Gitty and her feathered-friend Kvetch couldn’t be more different: Gitty always sees the bright side of life, while her curmudgeonly friend Kvetch is always complaining and, well, kvetching about the trouble they get into. One perfect day, Gitty ropes Kvetch into shlepping off on a new adventure to their perfect purple treehouse. Even when Kvetch sees signs of impending doom everywhere, Gitty finds silver linings and holds onto her super special surprise reason for completing their mission. But when her perfect plan goes awry, oy vey, suddenly it’s Gitty who’s down in the dumps. Can Kvetch come out of his funk to lift Gitty’s spirits back up?

As anyone who has wielded a camera knows, photography has a unique relationship to chance. It also represents a struggle to reconcile aesthetic aspiration with a mechanical process. Robin Kelsey reveals how daring innovators expanded the aesthetic limits of photography in order to create art for a modern world.

Doctoral Thesis / Dissertation from the year 2008 in the subject Art - Photography and Film, grade: cum laude, University of Edinburgh, language: English, abstract: Photomontage has more to do with film than with any other art form - they have in common the technique of montage. (Sergei Tretyakov) By considering that photomontage and film use the technique of cutting and gluing as dominant artistic device, and that montage, a technique unifying art and technology for the first time, emerged as a dominant artistic feature of the avant-garde, this thesis will explore the ideological and perceptual implications of its advent in avant-garde art and film. The technological advances of the beginning of the twentieth century, and particularly the advent of photography, allowed avant-garde artists to break free from traditional concepts of artistic production – they dispensed with the old criteria of uniqueness, originality, handicraft and personal style. At a time when many avant-garde artists abruptly ceased to paint, photomontage emerged as the privileged locus for a caesura with traditional art forms. Photomontage envisioned film aesthetics insofar as it combines and juxtaposes images of various perspectival planes and angles (Raoul Hausmann described his early photomontages as “motionless moving pictures”). A corresponding observation can be made on the use of montage in cinema, a technique which crucially underpins the illusion of movement created through the succession of photographic stills. The present thesis will investigate photomontage and film in order to examine the effect technological reproduction played in revolutionising artistic production, perception and ideology – where the technique and philosophy of montage was key.

Essay by Robert Storr. Foreword by Glenn D. Lowry.