Private Models (Artistic Photos) ~ Volume 1

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  1. Posters we like
  2. 104. Mark Wallberg
  3. Philadelphia Art News Vol. 1 No. 7
  4. Wall art in Scandinavian Design - Posters & prints at
  5. a guide to photography at sabi sabi

However, if you want flexibility and the opportunity of capturing that really fantastic shot then any good quality digital or 35mm SLR single lens reflex, as opposes to a compact camera with automatic controls camera body will be needed. With a compact camera there is a slight delay between pushing the trigger and the shot being captured; whereas a SLR is instant. Some of the new Nikon SLR cameras offer excellent low-light capabilities giving you more opportunities when the light begins to fade. You will get extremely close to wildlife so it is not necessary to have huge lenses.

A good zoom lens is your best option and will offer best flexibility. Fast lenses with an F stop of F4 through to F2. Great all purpose lenses in this range are the mm f2. With both these lenses you will have plenty on lens at all times and enough speed to keep your image nice and sharp.

Posters we like

These are lenses that have a fixed length starting from mm and going up to mm. These are excellent lenses but very expensive and not always necessary. However, they do tend to be heavy and need to be shot on a tripod or support of some kind. Put in a 1. In order to get that sharp image, you need to make sure that you are shooting as fast as you can in the light offered, and most importantly you need to make sure your camera and lens are as stable as you can make them.

All Sabi Sabi open safari vehicles have large steel roll bars in front of each seat. The easiest way to get stability is using a G-clamp directly onto the bar with a good quality head. Any good ball head or video head will work. The wimberly head is one of the best and very effective, if expensive.

104. Mark Wallberg

The lodges are able to supply a G clamp and Manfrotto hdv head on request for a small daily hiring charge. This Head and clamp works really well especially with the bigger lenses. A tripod is not usable on the open safari vehicle itself. You will not have enough room to adjust the legs and will not get enough stability.

However, in and around the lodge or for that perfect sunset shot, you could use a tripod. A monopod is very popular and works well, using the floor of the open safari vehicle as a base. It is still advisable to put a movable head on the end of the mono. An old favourite, the bean bag, works very well.

Philadelphia Art News Vol. 1 No. 7

They have a wonderful lyrical quality. I feel you are trying to mirror that lyricism in your statement, but the words fall short of the photographs. I am having a hard time trying to figure out what exactly you are trying to communicate in your statement. I think you are addressing the blooms' beauty at the end of your writing, but the beginning is confusing. Are you saying the blooms experience a life cycle, and if so, why is that important to the overall theme? Clarifying exactly what you are trying to say through your photographs may help them have a greater impact.

I think the poetic tone is effective, but you need to consider what story you are trying to tell. As for the individual photographs, I think the strongest are the macro images of individual flowers. Perhaps in a larger edit there would be a way to more effectively weave in these wider shots. As a technical suggestion, I think 6 could be brighter and 7 and 9 could have more contrast.

You may also consider having more variation in the types of flowers you are photographing. For a small selection like this, the two dandelion images feel repetitive, as do the tulips although not as much so. Richard Skoonberg. This is the first time I have submitted a body of work before and I found your comments constructive and thoughtful.

I was particularly struck by your feedback about the repetitiveness in this body of work and the emphasis on a technique—it was like being hit by a Zen master and his stick! While those artists used people in their images, I prefer the structure of architecture and backdrop of nature. I like to include the constraint of time in my images. I use images that are taken on the same day, to capture a snapshot of my experience, not just a moment in time. I start by merging groups of images I have taken on the computer.

It is difficult to predict or visualize the outcome, so I am have to rely on my intuition and my photographic experience. Through this process, I have learned to let go of my doubts, and trust that something new will appear. Is it still photography? Following the advent and subsequent popularity of digital imaging, the field of photography expanded rapidly and encompasses much more that it formerly did.

What images in the set were most effective to you and why? Which of these did you feel the strongest toward. Some images are more abstract than others, did those resonate with you? My general thought on the project are as follows: While seeing other perspectives is important, it is also necessary to provide context and substance for a series of works. When presenting works individually, it is much easier to have very simple or exploratory goals - but when you are sending works that are intended to fit as part of a series, it is necessary to give us more to engage with and to do so without repetition.

That said, it is difficult for me to engage in these images and construct any sort of significant analysis due to the overwhelming similarity in photographic strategy. While this may resonate with you and your camera technique you are working on, it is not visually much different from image to image.

In a series as mentioned above each image needs to contribute to a greater aim and work within a set of defined parameters. What interests you about this approach and why do you feel compelled to share these images? What are your ultimate goals for the project in a non-practical sense, i.

When reviewing hundreds of submissions, exceptional, well-executed work that animates an idea and is visually exciting really stands out and deserves to be recognized. Editing is crucial. Each photograph has to be strong and the sequencing needs to make sense, from a story-telling and an aesthetic point of view. Avoid repetitions.

James Niven. Thank you! It gives me validation to continue on my Photographic journey, always being honest and true to what I see and feel. Besides this, it was also very encouraging and thorough in critique of each image. Also noted and appreciated were all the relevant and further reading links. Thanks so much.

101 Amazing Historical Photos Volume 3

Enchanted Encounters is my latest series of analogue photographs. These compositions explore my fascination with people in their everyday surroundings and the interplay the subjects have with negative space. The human presence in each photograph reflecting an intriguing insight into a moment captured in time.

With our often hectic and busy urban environments around the globe, I am more interested in trying to convey a sense of balance and harmony, which are important elements to my more simplified style of composing photographs. James, your compositions are so elegant and simple, they awaken the eyes to subtle ways of seeing. I really enjoyed your photographic approach and the way you wrote your personal statement and captions. It reveals joy in the practice of photographing and also of seeing. Each of your images is so unique and full of thoughtful elements. Image 02 is so different from 01 or 03, yet they feel they come from the same observer.

Image 05 is so surprising, it also reminds me of what happens when you stop and let life find their place in space, in this case the woman was in a perfect place practicing yoga. Image 06 is as well really beautiful composition. Image 08 and 10 and to some degree 07 just take in consideration the already fixed architecture and you just wait for the light to activate the place or a passerby to bring more complexity to the moment. Your way of seeing is simple yet disciplined.

In general you have a solid practice and I have no doubt we will see your work again out in the world. My suggestion for you photographic journey is to pay attention to the moments where subtle shots become too simple. Your strength in these photographs lay on the fact that you are able to use the negative space in total balance with the positive and that you find those simple, ephemeral moments and freeze them.

Image 04 for example is a good composition, yet next to your other images this is not as strong, its more conventional and easier to grasp, similarly image 09 is as well a good image and I see the relation with light and shadow but it as well stays more on the conventional side.

You know your process and your strengths more than anyone else that can see your work; I hope these comments make sense. I have no doubt that I will see more of your work out in the world. In the meantime, I have added some links to support you in your photographic journey. Thank you for this submission and I wish you good luck in your endeavors. Keep shooting. We want to highlight anyone who is expressing their artistic vision with surprising and memorable materials and formats.

The jury met. There was a concerted gasp of approval. The window of one has been transformed into a section of art gallery wall. In front of a black curtain are lovely framed flower compositions and Japanesque still lifes, done in living flowers, frequently changed and varied. The other window uses a similar idea in the background, framed bowls of roses against silver, but the central figure is a huge palette, the color being supplied by potted cyclamens ranging from white through pinks to deep red.

Anti-Climax: The palette idea is also being used by a drug store eatery—the artist—a chef, the colors—egg through catsup. A bunch of the boys were shooting the after-dinner gaff around a club table recently, when one began to orate about the hideousness of a gingerbready Philadelphia public building.

The right way is the wrong way. Technically speaking. Jumping our shutter up to, say, a thousandth of a second will certainly stop speed. That is the trouble. It will stop it dead, reducing movement to inertia. The result is static. Buck tradition. Go into reverse and slow down the shutter. Let the velocity of the approaching object spread over the film, trapping and imprisoning the sensation of speed, juggernaut power, and rapid rhythms. The accompanying photograph of the Broadway Limited was managed in such a manner. Lying prone on the ground as close as was safely possible to the tracks, the shot was made as the engine roared over head with the focal point about one third of the distance photographed.

Coupling this with the diminished shutter action necessary enabled the capturing of speed sequences glimpsed in the foreground, meanwhile maintaining adequate detail in the distance. The diaphragm was cut to fill. Illuminated books of the Middle Ages and Renaissance are on view in the entrance hall of the Library for a period of six or seven weeks.

Manuscript illustration, in general, follows the characteristics of the painting of the period, if anything retaining certain archaisms or conventionalities a little longer. A leaf from an Italian Antiphonarium of the late thirteenth century, probably executed in Florence, shows an idyllic, carefully done landscape with much the same qualities of space, quiet and symmetry as those in contemporary Florentine painting. Again, in exhibit No. The marvelous reds and blues of the Van Eycks are echoed in the colors of the manuscript; the intense, yet whimsical, realism that inspired Geertgen reappears in the partly buried souls whom a diminutive and greatly winged St.

Michael assists to the Throne of Heaven; the gaping Mouth of Hell indicates the fascination with the grotesque which the elder Breughel displayed. One of the dominant traits of English art has always been the feeling for graceful line, and the manuscripts reassert this feeling. In an English Bible of the early thirteenth century, No. Other items in this exhibition of especial interest are a Italian edition of Vergil, a Greek Psalter of the thirteenth century, and the Augustinus Aurelius of the late twelfth century French School.

The Lantern and Lens Club continues to be one of the most progressive of Philadelphia camera groups. Besides their weekly meetings, the Club is sponsoring several exhibits and contests. February 2 to 15 there will be a wall exhibit of modernistic pictures, while on February 9 , there will be a portrait class under Miss Hedwig Rohn. The evening of February 24 Miss Margaret L. This entertainment will be open to the public at a charge of twenty-five cents. The award for the Cup Contest was given to Miss M. At that time Mr.

  • Genre et identité dans le théâtre anglophone (Spectaculaire | Théâtre) (French Edition).
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Estella Goldschmidt, local craftswoman, recently designed a pair of silver earrings for actress Gale Sondergaard. Quita L. Brodhead is holding a one-man show at the Charles L. Morgan Galleries, New York City. Francis M. Bradford, well-known Philadelphia decorator, has recently been chosen as third vice-president of the American Institute of Decorators.

And another new art school joins the directory. Irene Johnson has drawn up the plans for her classes. The object will not be to train for commercial art, but for painting merely as a hobby. Leona Miller has moved in with Olive Brewer and Lynn Mahaffey, the art team that has done such distinctive wall paper and drapery designs. Last summer we heard curious rumors concerning Nantucket. One rumor whispered that it was about to secede from these United States. Another that Windsor and his Duchess were to be urged to establish a Duchy on this island in the sea.

And thus Romance reared its lovely head over the rocks and dunes of this mellow, sun-rich land. On this island so touched with royal romance, two Philadelphia artists built a home. They created Romance of their own in wood and iron and stone. In this small home is a poetry warm and rich, a poetry as of some calm soul set dreaming; dreaming a tiny castle in the sand. Within its walls it seems to soar afar into distant lands and ages.

It relates to its place as a dreamer to his soil and there is the same rich joy in it. As you enter in you are enveloped by a sense of feudal richness—a flavor of old Phillip of Spain or the Medici or of Richard of England. The windows that see you come and the studded door that lets you in are of rich chinese red. The large tiled floor is in deep blacks and grays. The pillars by the yawning fireplace and a door near by are of antique gold Italian polychrome. The thick hand-hewn beams are oiled to a deep, rich tone.

Two antique gold pillars flank the tall doorway leading to a bright, well-appointed breakfast room.

Wall art in Scandinavian Design - Posters & prints at

Heavy wooden stairs descend to a sunken garden on the lower level and on the site of the old pig pen is a small brick Patio. A pair of large wrought iron grilles enrich the Patio with a frozen black lace. With fine sense of selection the Misses Monaghan have gathered here and there, from auction rooms and junk yards. With these bits they have dreamed on paper and with tiny models.

They have dreamed the romance of rich ages and have achieved a harmony that only comes through deep appreciation. You can be sure that this building was done with great sincerity and with great joy. It is as much a part of these two artists as their own breath and blood. It is the outward expression of the inner soul. The Pennsylvania Museum of Art has recently completed the installation of a representative group of modern French paintings in five new rooms. Among the paintings displayed are three Renoirs, a Cezanne and two Fantin-Latours never before seen in America. The collection covers the period in French art from to , showing typical works by painters from Delacroix, Daumier, and Corot though to the Cubists.

A Picasso, and several examples from the recent Daumier exhibition are included. This exhibition, which was opened to the public January I, will be on view for several months. In he was awarded the draftsmanship prize and the Hollingsworth Prize. Pardi has exhibited in Philadelphia, New York, and Boston. At first reading, it sounds pre-eminently fair. Any artist is urged to submit his work, and each work so submitted is assured of being fairly judged.

But is this exactly the case? There were canvases in the show. BUT of these had been invited. In other words only a mere fraction, 98 to be exact, of the or were actually accepted by the Jury. Has the Jury been reduced to a group of artistic yes-men? Is this either a fair or sensible arrangement? The expense of transporting, framing, insuring the pictures is not only enormous, but to the great majority of the or artists worthless. But an even more important situation derives from this practice.

Will not many worthwhile artists be deterred from submitting work because of the apparent hopelessness of being one in eighteen? In view of these facts, should there not be some changes in the organization of the Annual Exhibition? Two alternatives seem to present themselves. The show should be entirely invited, as is the American painting show at the Whitney Museum, and thus cease to flutter so many false hopes.

OR the number of invited pictures should be enormously reduced so that the Academy Annual may substantiate the belief that it is an attempt to present the best of American painting, and not merely the work to which established names are affixed. Daniel Garber, long recognized as one of the outstanding figures in American landscape painting, is now holding his first New York one-man show in five years.

Twenty-eight of Mr. There is also a group of thirty-three etchings and drawings, the drawings being shown for the first time. The titles of Mr. The Atelier du Mode, a display shop at Ludlow St. The school which will be held in the actual shop, will work out ideas that are salable.

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Sketches are being prepared of the desired type of typical housing units. These drawings will be turned over to the architects for adaptation to the site of the project assigned. This party hopes to equal its predecessors as one of the most engaging art brawls in our town. The jacket is in full color and Reid has also done a poster advertising the volume.

a guide to photography at sabi sabi

Bill Wolf, A. A striking black and white by William O. Schoonmaker for Fidelity Philadelphia Trust Co. It was done through Jerome B. Gray Agency. Frank Smith tells us he has just finished a luscious job, illustrating a book on the history of copper. The volume was put out by the National Association of Electrical Manufacturers.

Some idea of the upset social conditions prevailing in our country can be appreciated when you consider the fact that two art directors and four free lance artists were seen having lunch at the St. James Hotel recently. And sitting at different tables, no less. The management has promised to do something about it. With a brogue like that he ought to be on the police force. Herman Suter is now doing advertising illustrations for the Bradford Oil Company, having just joined their regular staff of artists.

Bert Conway, formerly A. The private view will be four to six p. Nuse will speak on the pictures in the exhibit. All works must be entered upon the regular entry cards, properly filled out and sent to The Fellowship Exhibition Committee, the P. Each work must have the proper label attached. Additional cards may be had upon application to the Chairman of the Exhibition Committee, or from the doorkeeper, at the Academy. Not more than two large or three small pictures may be entered.

The jury for the oils will be: Grace T. Gemberling, Paul L. Post as a memorial to her sister, who was a member of The Fellowship. Nuse, painter and member of the Academy faculty, and February 10 , at the same time, by Harvey M. Watts, author and art critic. Weber, technical director of F. Weber Co. He has done much to stimulate interest in exhibitions, to encourage private ownership of works of art and to properly preserve and regenerate aged paintings. The history of art has been directly influenced throughout the various schools of painting by the materials available to the artist.

During each period, we find the artist keenly feeling the limitation of his materials and, in striving to give expression to his artistic creations, seeking and developing new media. Even today, with the more or less rapid advance of chemistry and physics as sciences during the last hundred years, it has not been possible to develop an ideal medium serving the emotional demands of the painter.

Today we are indebted to the industrial paint chemist for a selection of brilliant, permanent and durable color pigments, far exceeding in numbers the palette of the painter at any other time. In fact, it is just this, which causes the artist to have technical difficulties. If he is not somewhat acquainted with the properties of the pigments he uses, he runs into trouble. Pigments, chemically unalterable, but improperly used cause loss of color, cracking, lower tones; luminosity, tonal values and glazes are disturbed or entirely lost.

Frequently we find the artist condemning the materials he used; but only seldom, today, is this the true cause. Lack of even elemental knowledge of the craftsmanship and technique of painting is causing more damage in modern pictures than use of faulty materials. Modern pigments, oils and varnishes, if used properly, will yield works of art equal in every respect, in color, brilliancy and permanency, to those of any other earlier period.

If the Florentine, Venetian, Flemish, and Early Dutch Masters had had available the rich, strong, and bright colors recently introduced, undoubtedly their art would have been appreciably influenced. As we advance through the history of painting, from the very earliest evidences of art—namely the wall paintings of paleolithic man in Altamira, Spain through the early Egyptian, Assyrian, Phoenician, Mycenean and later Grecian painting—we recognize not only an exceedingly limited palette of colors, but also a very elementary or primitive craftsmanship.

At first we find glue size, later eggs and wax, used as a painting medium. Later, the Byzantines used oil and bitumen as varnish over glue, egg and wax paintings. It was this practice which caused the darkening and destruction of so many of these paintings. The influence of this latter technique is evident even in modern painting. The study of the chemistry, physics of light and color of these early methods shows what remarkable craftsmen these painters were, particularly if one considers that chemistry and physics had not as yet been highly developed. And yet, we often hear the contemporary painter excusing his own technical deficiencies by stating that the Old Masters had better materials with which to paint.

The Old Masters did not have the largely augmented selection of durable products which are at the disposal of the modern painter. Neither did he have chemistry and physics to help him solve his studio problems. It was, perhaps, his salvation that he had only such a restricted palette; his factor of safety was greater. Any modern deficiencies of technique should be rather laid to lack of training. He underwent several years of rigid training, having assigned to him the duties of preparing and refining the pigments, oils, mediums, and varnishes.

The apprentice was then gradually entrusted with more advanced work, becoming a Master only after years of intensive work. It was during the last half of the nineteenth century that we find the artist beginning to run into technical difficulties. The preparation of his materials had become by then a separate industry.

Industrial chemistry began to develop and introduce a wide range of very brilliant, tempting colors with fanciful names that sometimes hid the true identity of dangerous, fugitive colors. The artist rather welcomed the severance of this, to him, uninspirational phase of his traditions, but at the cost, unfortunately, of placing the durability of his efforts at the mercy of frequently untried, new and recently developed products. No longer being intimately acquainted with his materials, be became an emotional painter. We have glaring examples of late nineteenth century paintings changed and degenerated.

Men like Sargent, Whistler, Eakins, who are representative of their period, have left some paintings the souls of which departed not long after those of their creators. Laboratory research has definitely shown that only in a few isolated instances are the changes so rife in recent painting—darkening, cracking, yellowing, peeling, blistering and loss of glazes—caused by faulty materials. They are directly traceable to faulty craftsmanship and lack of technical knowledge. There is absolutely no reason why pictures today cannot be painted equalling or surpassing in brilliancy, permanency, and durability those of any other period.

Personal to Dr. Barnes: Your interesting communication has been received. Unfortunately more important matters make it impossible for us to give space to a reply in this issue. Rest assured, however, that your letter will have courteous attention in a subsequent issue of the Philadelphia Art News. An Englishman named Saunderon has developed an adjustable able easel which fits on any desk, table, or other flat surface.

It may be tilted at any angle, raised or owered, or revolved, making it convenient for the artist to work on any part of his drawing without removing it from his drawing board.