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PixiPort:Metanoetic Figuration Understanding the interpertation of Figuration in the art world

Metanoetic figuration
Metanous means beyond the mind.
Metanoesis means to go beyond the mind.
Beyond the mind is the field of mysticism proper.
No figuration, actually no art, can go beyond the mind but it can undercut the selfreferential cognitive faculties of the mind that keep our awareness trapped in the mind like air in a baloon.
The paradox of nonnarrative figuration can stop the mind.
The painters brush can work as a needle.

The New Figuration is metanoetic
To understand the new figurative trend in painting, one has to understand the concept of metanous thoroughly. In this context it might seem appropriate to dicuss the meaning of metanous and metanoetic in the light of late modernist developments in art.
The end of modernism
Art after Rothko found itself in a situation of perpetual plagiarism with no other escape but to abstract itself out of its own object. The work of art emptied itself of its own raison d'etre: art. Several courses developed and florished: the work of art with art abstracted out of it, went through pop-art and has has after 20 years found its utmost expression in kitsch-ism. On the other hand art as an idea, that is: abstracted out of the object, went through conceptual art and installations and gradually turned in on its own source in bodyart in a display of the fragile source of both art as idea and art as object. Both are completely noetic, indeed glorify nous, but a selfreferential and thus self-mirroring, not a non-selfreferential and thus free, nous.

Many still talk about abstract art as modern and forget that modernism is very unmodern, actually close to 100 years old: a very high age for a painting style. No wonder this senile selfreproducing corpus today is mostly kept alive for the sake of prestige and is usually found on the walls of banks as a proof of their credibility: The banks and furniture shops say, by decorating their walls with abstract paintings: "Look how reliable we are: the traditions we are founded upon are very old, very established and timehonoured: we have great symbols of this on our walls, look: abstract art!" These same people often denigrade figurative art as unmodern but in that statement stumble over their own ignorance: they criticise it for being unmodern, thus intending to say it is old fashioned, but actually the figurative art of today is not modern in that it supercedes modernism.
Nor is it just another postmodernist scramble of pick-as-you-please and say-whatever. Postmodernism is not a new beginning, only the aftermath of modernism. The New Figuration is post-postmodern because it strives to realize an entirely non-modernist and non-postmodernist paradigm: that of metanoesis.


The postmodern aspect of Metanoetic Figuration
Metanoetic Figuration respects tradition and has its feet firmly planted in the now outdated postmodernism - it integrates styles and manners of painting, that were developed and refined in the centuries preceding modernism (not caring if they are Venetian mannerism, Dutch baroque, or French classicism - what ever). Thus Metatoetic Figuration has its feet firmly planted in tradition too, but (admitedly) in the postmodern way of direspecting the idea of history as a linear progression. However, our disrespect for linearity does not spring from a postmodernist ideology, but from mysticism: the realization that transcendental beingness has more validity as a state from wich art can spring, than a causal relationship between inspiration and expression - however chaotic that causality may be.
In our metanoetic view, history is neither linear nor non-linear: it is simply a conglomerate of events that happen, the moment simply is and so is the succession of moments called history. Later momentary events are comprehended as a narrative, but this narrativizing is only a projection of temporality on to atemporal moments by ordering them in a teleological succession. Thus history is a postulate and can never be anything else.
We are tired of postulates, thus we are tired of nous. Nous can never comprehend anything but its own ordering of things, and it fools itself by calling its narrativizing "understanding" og "cognizing". Nous is nothing but a construct, and its comprehension nothing but projection. Alas: we can scarecely live without it, but we should indeed understand the fact, that there is a possible life beyond nous, and understand that a life lived only in nous, the noetic life, is indeed less that a half life. Thus our new paradigm is metanoesis.
We don't call it mysticism, for tha notion of mysticism is, today, a cliché and thus also a noeotic construct: religions attemt to grasp metanous. Unfortunately with such a poor translation of the term "metanoueite" as "repent". Metanoueite actually means to go beyong the mind; thats what we are trying to do.
Such an attempt, when transposed to a work of art, is of course doomed to fail, and as history shows: mysticism has failed gravely exept for the few in which it spontaneaously happened - like St. Symeon, Meister Eckhart or Richard Rolle.
So history happens just as the moments of which it is made up simply happen. It is like a man (to illustrate the point with a motif some of us happen to paint) may wrap himself up in a sheet and roll about on the floor. He isn't doing anything particular, for his actions have no purpose (just like history has no purpose since it is constructed of moments of timelessness). The man is there in time and space (just as history is) but in the moment there is no time nor space, there is just being; secondarily being is wrapped in doing. And, please note: this doing, in wich being is wrapped, is bound in time and space and thus IS history. We are not against history, we only profess to explain that history can never go beyond nous - and this we must point out in order to explain our metanoetic approach to arthistory and the tradition we want to continue in our doing (our art) yet ignore utterly in our being.
So to point towards the timeless spaceless being in time and space we paint seemingly mimetic pictures of doing devoid of story.
Paradox has always been the language of mysticsm - obviously since language is a noetic construct and a projection of meaning onto the world, talking about metanoesis must deconstruct the projected meaning inherent in the language in order to just faintly convey the idea of metanoesis.
We dont profess to solve this paradox of time as a seccession of no-time and being as a spaceless precesence, but we insist on an art that employs it in order to help the viewer transcend it. Thus we have come to the conclusion, that metanoesis can best be developed in figurative art at this point in the history of western art since western culture, and its aesthetics, are totally preoccupied with nous.

Beyond The Transcendentalist Fallacy
Metanoetic Figuration has its feet firmly planted in modernism since it thinks the work of art should be an aesthetically integrated, coloristical and compositional self-contained unit. However we are not as naive as the early modernists as to think the work of art can exist as art if its devoid of any social context. Thus we don't fall into what we like to call the "transcendentalist fallacy" of Malevitch, Kandinsky, Mondrian and the rest of the early modernist cum theosophical artists. This fallacy made them believe that the only context real art was placed in was a metafysical context of spiritual energies wich their art somehow had to chanel into this word of ours, that art really isn't part of. Thus in trying to create a pure art, they actually seperated the work of art from art as such, thus reducing the work of art to a medium for occult inspirations or "ressonance" (to quote Kandinsky). This nonsense we denounce. The work of art is here and thats that: there is no such matter as art, since art is a nouetic construct and nous only exist because of ots selfreferential upholding of its own ego, its own notions of true and false, etc. So art does not exist, there is only a more or less competent work of art. Competent in the sense that it can be more or less selfcontained coloristically, compositionally, etc.
Also we dont think external contributions are needed to comprehend our art, since comprehension is a noetic function its a projection and contrary to our project of shortcucuiting cognition and transcending nous.
Thus an uncanny incomprehensibility is part of a proper appreciation af a metanoetic work of art - figurative or nonfigurative.
Old figuration had comprehensibility as an ideal; thats one of the reasons it can be so easily grasped, and brushed away, as mimetic. New figuration does not have mimesis as a goal. It more likely has mythos as a partial goal and in order to evoke mythos employs mimesis. In order to go beyond nous, the mind, metanoetic figuration employs illusionistic representation to trick the mind to believe that appreciating the picture is a matter of comprehending a narrative, but at the same time the metanoetic figuration deconstructs comprehensibility by hinting at either mutually incompatible narrations or simply not hinting at any narrative at all: there is only depicted action devoid of any obvious narrative or allegorical meaning.
Post-postmodernist painting must be figurative. It must continue tradition. Not in the narrow-viewed late modernist sense that tradition only reaches a few generations back and that art was first invented in 1912. It continues it in the sense that art is nonmanifest and transcends the work of art, thus any form of art can be a suitable vehicle, and since metanoesis is timeless and spaceless, it is present in all cultures and times. Thus tradition must be tangible in metanoetic art, yet by denying narrative (narrative needs chronology) metanoetic art also deconstructs the tradition it integrates in itself. This paradox can only be fully realized in figurative art.
Metanoetic Figuration, however, can not fall into the intellectually conceited simplemindedness of concept art, nor the aestetically confused roomdecorations of installation art. The reason for this is simple: we are trying to express metanous: that which transcends concepts. Thus concept art is the epitome of what we want to transcend. It also transcends installation art since metanous, obviously, transcends time and space: the very media of the installation.
Metanoetic art must for these reasons, as i shall soon elaborate further, be figurative, but figurative in a way, and for reasons, that figurative art has never been before.
If Metanoetic Figuration is an -ism, it is antiismism, thus it seems to be of paradoxical nature, though in reality (or rather ideally, since also in our art movement bad works are created) it searches for a state beyond paradoxes, even as it searched beyond aestetics, concepts and narrative.
A new, post-postmodern, figuration must be anti-narrative and anti-discursive. In short: metanoetic.
This frase, metanoetic, is biblical. Jesus K., preceder of all the Pauline cults, insisted on metanoesis by imploring: "metanoeite!" and the reason? because there, beyond nous, "the kingdom of heaven is at hand" (Math. 4:17. "Repent" is a dubious translation af the greek "metanoeite"). In its deepest, mystical sense, Jesus K.'s insistence on meta-nous means that the kingdom of heaven is at hand beyond (meta) the mind and its cognitive faculties (nous).
Metanoetic figuration can never be identified, or categorised, with figurative painting before modernism, since pre-modernist (and even modernist) figuration allways served as illustration and thereby served narrativity; both, obviously, are noetic and a waste of time.
Non-narrative figuration appears mimetic, of course, but only on a superficial level. In reality it does not mime f.eks. a body entangled in a sheet anymore than the black color in a picture by Ad Reinhardt mimics a piece of black cloth. A mimetically well painted foot in a metanoetic painting is nothing but a mimetically well painted foot, it does not carry a story that the picture, or the foots part in the picture, may seem to imply. It implies a story simply by being mimetic, but there is no story provided, nothing we want to tell. There is no story, no meaning, no allegory; only metanous. If you think metanous is the meaning, you have misunderstood the point. Please read "The Cloud of Unknowing" - a medieval english mystical prosework by an unknown mystic; it will, hopefully, make this point clearer - i have no space for more now.

Please note that by saying a well painted foot is nothing but a well painted foot, i am not propagating some aesteticism of pure craftsmanship - on the contrary: the point is: craftsmanship is nothing in itself. Actually nothing is nothing in itself, including art. If the picture depicts a foot, thats all there is to it. There is no "See how good a painter I am" (no art as egotrip), "see how this foot represents this or that story" (no realism, no surrealism), neither is there any "see how its like to be in my mind" (no confessionalism) and none of all the usual hype artists or arthistorians project onto art - justifiably, since thats what art has been about; but not any more; that's the whole point of metanoetic art.
There is only the moment of looking at the picture, and any moment is incomprehensible to nous, nous only comprehends its own projections as deconstruction has so painfully proven. We insist, with the mystics, that the only true comprehension of the moment is metanoetic. Since looking at a piece of art is an activity anchored in the moment of spectation, we find we must try to use that moments momentariness to point awareness beyond nous and towards metanous.
Now some contemporary figurative painters may think they are metanoetic painters because they paint ridiculous or magical scenes. But by doing so, they are only ridiculous painters or at the best magic realists (and magic realism has many fine qualities, however it only borders on metanoesis).
Surrealism is not metanoetic, it is subnoetic: the exact opposite of what we are trying to achieve.
To reach metanous, you have to have an extremely clear nous. A sufficient clarity of nous can only be reached by employing the noetic practices of mysticism, like the traditional christian approach of infused contemplation or by the traditional hindu approach of awakening kundalini (probably they are the same, as Gopi Krishna has argued from his own experiences).
Metanous is not a state that is generated since it is before noetic generation, it can only be discovered. But to discover it one needs a clear nous (mind you: not an untroubled heart, as the new age spokesmen imagine). You can't search for metanoesis, only discover it - in that sense Picasso was probably one of the first to stumble over the metanoetic quality of art: he claimed he never searched, only discovered. Sadly he didn't realize the metanoetic truth of that statement blinded as he apparently was by modernism's infatuation with experimentalistic aestheticism.

Beyond The Reductionist Fallacy

Art can help the discovery of metanoesis. Rothko tried and almost succeeded with his late maroon non-pictures. They are very metanoetic. He and Ad Reinhardt transformed abstraction to metanoetic art, however they failed in that they never transcended the concept of metanoesis, end thus never really got beyond nous. Now we are showing that figurative art can, with greater success, be metanoetic. Figuration can integrate the nescessary paradox. Rothko and Reinhardt never understood that; they talked about this paradox a lot in most paradoxical terms, but their works of art are so anti-paradoxical, its amazing they couldent see this incongruity between what they thought they did and what they actually did. We call this error of reducing art beyond paradox the "reductionist fallacy". Mind you: its not a paradox that minimalist works of art are generally huge, because the two, size and complexity, are not mutually excluding. Actually: the reduced means of expression need large works for the minimal means to become apparent; theres no paradox there.

Our rationale is that by employing a mimetic imagery, but depriving the work of art of narrativity or allegory, then nous, our conceptual cognitive mind, will either run on endlessly in its search for meaning, or it will stop and just look. In this perceptive stop one will have a chance to realize the time and spaceless metanous that is always present, but hidden under the noetic interpretations of the moments actions. When the picture has a high intensity of implied meaning, but no actual meaning is present or to be found, then the only options are to either reject the picture as meaningless or to sense the metanoetic.
If you think metanoesis is the pictures meaning, you are projecting a meaning into the picture, which is a noetic function and a misunderstanding of the whole matter. Again: please study mysticism for further elaboration of the validity of non-conceptual awareness-knowledge of being. Try a modern Indian this time instead of a medieval brit.: Nisargadatta Maharaj's book: "I Am That".

Beyond Mimesis

One might (naively) think that abstract metanoetic pictures express the metanoetic better than figurative metanoetic pictures, but not so: the error is that they try to express the unexpresible, wich of cause can not be done since the very expression negates the unexpressible. Because of that, Rothko and Reinhardt never succeeded in anything but reducing the paradox of expressing the unexpresible to a pictorial style that negated any paradoxes what so ever in a pre-minimalist style and in the spectator only created a trancelike state of mind (nous) in wich (at the best) associations to the transcendental would pop up either spontaneously or because the spectator was lucky enough to have read the same books on zen-buddhism as Ad Reinhardt had. Trying to express metenoesis can only fail. So making an aestetics out of expressing it is rather silly.
We can only conclude that metanoetic painting must be figurative. This is underlined by the very fact that metanoetic being is not transcendental, but in, not of or beyond, time and space. You dont have to transcend anything to reach metanous: its here, now, not there or beyond. It needs no negation (as Rothko and Reinhardt thought; Reinhardt negated color and composition, Rothko negated pictures), it only has to direct the mind to metanous and at the same time show the insufficiency of noetic understanding of concrete reality. In order to show this, we paint figuratively but devoid figuration of meaning, thus the mind has to look in the empty space between objects, and there it will only find silence. Silence permeates noise, therefore the scenes we depict are often noisy, mentally or emotionally, but the silence must, MUST, always be present (otherwise its not a metanoetic work of art), so the mind shifts from the noise (the pictures meaningless meaning) to the silence.
When resting in the silence, the noise and the figurative "story" becomes uncanny (as i stated earlier, this uncanniness is a nescessary ingredient of metanoetic painting), and if one can solve this paradox, then one, as spectator, can have a peek at metanous. That peek is the sole object of metanoetic painting, its "raison d'etre" all though it does not need any reason since it simply is.
Or goal is neither meaning, nor no-meaning, nor meaningslessness. It is metanoesis. To this end we use figurative painting. Rothko and Reinhardt tried with abstraction, but only succeeded to convince the initiate few (mind you: their aesthetics convinced a lot, but few saw beyond the revolution they caused in arthistory and the history of aesthetics and saw that their real goal was not to make pictures, but to point at metanous).

Everyone can relate to mimesis and everyone will try to order mimesis into a story, myth or allegory. So by frustrating the mimesis by frustrating the noetic operations of narrativising, mythifying or allegorising, then we hope to stop the mind and thus point the spectators attention to the spectators metanoetic state of being. This is the first step. Second step is to make the spectator aware of silence permeating emotional or mental (noetic) noise. This silence contains a unity of no-drama and no-no-drama in that it is present in, yet not dependent on, lifes situations.
Wether the spectator experiences metanoesis or not is entirely beyond a pictures ability to guarantee or an artist to warrant, but by being anti-noetic, the picture can hope to block the selfreferential cognitive operations of the mind, nous, and by thus cutting through that selfreferentiality prepare the way to at least a sense of metanous. By integrating the non-noetic (silence permeating existetial noise) it might perhaps even give the spectator an experience of metanous.
Anyway: we have a foundation for a movement in art that might prove worthwhile to explore deeper since it transcends both modernism and postmodernism and borders on mysticism. By denying the mimetic quality any meaning (in the traditional sense that figurative pictures have had meaning), our pictures will at the least prove to renew figurative painting; a step worthwile in itself.
Copyright 1998, Jan Esmann. All text and images on this site are protected by Danish, U.S. and international copyright laws. Unauthorized use is prohibited.

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PIXIPORT-Event Listings Contests Grants Call to artists

Gallery Seeks Socio-Political Artists From Across America

Delta Center for the Arts & the LH Horton Jr Gallery announces a Call To Artists for the upcoming exhibition, My Country, Right Or Left: Artists Respond to the State of the Union. Entries are due by October 14th, 2005.

The exhibition will run from November 17 to December 15, 2005. Please contact the Gallery to request entry forms.

Artists from across the United States of America are invited to participate in this competitive exhibition. Work is required to conceptually and/or thematically address the current social and political conditions of our country.

Special Guest Selection Juror is Laurie Lazer, Co-Artistic Director and Curator of The Luggage Store gallery in San Francisco, California.

$1,800.00 in cash merit and purchase awards will be issued.
Date: 14 Oct 2005
Venue: LH Horton Jr Gallery
Time: Deadline: October 14th, 2005
Contact: 209-954-5507
Website: http://finearts.deltacollege.edu/gallery
Email: gallery@deltacollege.edu

Pixiport:Native American Platinum Portraits By Gary Auerbach Art Photographer

Twelve years ago, after a career changing injury, I turned my full attention to photography. I was disillusioned to find that much of my earlier work from 25 years ago was beginning to show signs of deterioration. I did not want to spend my time working in a photographic art form with materials that caused the print to self-destruct. Since the 1850's it has been well documented that silver-based photographic methods have a lack of long-term image permanence.

Living in Tucson, I was fortunate to utilize the world renown resources from the University of Arizona's Center for Creative Photography. I researched how one could make a permanent photograph. There was the cyanotype, an iron process; the carbon print, using graphite; and the platinum print, using platinum metals. Viewing examples of each, I was drawn to the platinotype with its warm tonal scale, and its sharp as a tack image, because it requires a negative the same size as the image. The platinotype image is softened because it is printed on watercolor paper. Since the emulsion is hand-coated, there is an organic feeling about completing the print to the finished product.

In looking at early photographic images, I was drawn to three photographers in particular: Eduard Steichen, Edward Curtis and Alfred Steiglitz. All produced portraits of people that captured a soul within them for me.

I taught myself how to print, using 6 x 6 cm negatives that I had from my many years of working with a Hasselblad. It was terrific, no darkrooms were necessary, and no more chemical smells. Printing outside in the sun, I felt like a pioneer photographer. I knew then that I loved the process - and the look. But my negatives were small, and so were my prints.

I attempted to work with negatives that were enlarged, but found that I could not get the look of the images printed from larger formats. So I began the process of moving up in negative size. That worked well because there was a slight learning curve to hand-coating larger images, 4x5, 5x7 and 8x10. Ultimately, I found a used Wisner 11x14 technical field camera and with that, I felt that I found my niche.

Portraiture and architecture is my specialty -- large format platinotypes. Photographic images that are made to last 500 to a thousand years

In the process, I hope to educate a public that knows very little about the platinotype and the platinum photograph.

VICTORY!!

Alert ExpiredVictory for Horses!
Thanks to your calls and emails, the U.S. Senate passed the Ensign-Byrd amendment on Tuesday, September 20, by a vote of 68-29.

VICTORY! Senate votes to ban horse slaughter

The U.S. Senate passed an amendment today by a stunning 68-29 vote that prohibits the use of any federal taxpayer funds to slaughter horses for food exports.

The amendment, introduced by Senators John Ensign (R-NV) and Robert C. Byrd (D-WV), mirrors an amendment that passed the U.S. House of Representatives in June, which was led by Reps. John Sweeney (R-NY), John Spratt (D-SC), Nick Rahall (D-WV), and Ed Whitfield (R-KY). Together, these measures will effectively stop America's horses from being killed in three slaughterhouses in the U.S. that slaughter horses -- two in Texas and one in Illinois. The amendment also stops horses from being shipped to slaughterhouses in Canada or Mexico so that their meat can be exported to foreign countries.

This tremendous victory would not have been possible without your support and action. We received outstanding support for our major lobbying campaign to end horse slaughter and were able to mobilize our grassroots network. Every single Senate office heard from us, and because of your calls and emails they took notice. Click here to find our how your U.S. Senators voted.


"The time has come to put an end to the practice of slaughtering horses in America," said Sen. Ensign. "Horses have an important role in the history of our country, particularly the West, and they deserve our protection. As a senator and a veterinarian I am committed to doing what I can for these magnificent animals. Many of the horses sent to slaughter are perfectly healthy, and turning them over to slaughterhouses is inhumane and unnecessary."

"The market for horsemeat is not an American market," said Sen. Byrd. "Many Americans would be shocked to learn that our animals suffer such a fate, all in order to satisfy the tastes of those living in Europe and Asia."

In another welcome move, the Senate also approved two additional animal welfare amendments introduced by Sen. Daniel Akaka (D-HI). One amendment would ensure that "downed livestock" -- animals too sick or injured to walk -- are not allowed into the human food supply. The second amendment would prohibit tax dollars from being used for research facilities that purchase animals from "Class B dealers" who traffic in family pets for research.

We are so grateful that you stood with us and helped achieve this incredible victory for animals, even as so many of our resources -- and so much of our attention -- has been turned towards helping the animal victims of Hurricane Katrina. Thank you for all you do on behalf of animals.

Pixiport-Professional Editorial and Commercial Fashion Photographers Art Photography

Pixiport-Professional Editorial and Commercial Fashion Photographers Art Photography

In today's fast paced world, we are more apt to react to a favourable, fascinating image, rather that taking the time to read a half page of text, describing the features of a particular product. Very few photographers have the ability to grasp what the company is trying to portray and then come up with a photograph that will catch the reader's eye, as they flip the pages of a magazine, or drive by a billboard at 70 miles per hour. We are honored to have some of the most exciting commercial photographers in the world, as members of our exclusive site.

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Pixiport Fine Art Photography Contest
Fine art photography online photo contest. Black and white and color catagories. Digital and film.

International

Date: 15 Dec 2005

Venue: Pixiport Fine Art Photography gallery

Time: Submissions open till December 15 2005 Winners announced January 10th, 2005

Contact: Helyn Davenport

Website:http://www.pixiport.com/photography-contest.htm

Email: helyn@pixiport.com

First place in color and in black and white category $300.00 and a Pixiport Gallery

Sponsored by Investors Capital Funding Corp

2nd place $100. 3rd, 4th and 5th places.

Cost for 3 images $10.00 US via paypal, you can enter multiple

Pixiport:The Voice Behind The Lens Michael Dubiner

Pixiport:The Voice Behind The Lens Michael Dubiner: "FUJIFILM FINEPIX F10-A STREET PHOTOGRPHERS DREAM DIGITAL CAMERA
(But you may not want to rush out to buy it yet, there may be better to come next month) "

For those who have been with this column over the past few years, it is obvious that I have been obsessed with the idea of a small digital camera, with good low light capacity, to effectively emulate the high speed Black & White films that can shoot at 1600 or 3200 ISO. The FUJIFILM FINEPIX F10 comes close. And hopefully an even more versatile camera, the E900 will be released by Fujifilm next month.

Until recent history, Black & White photography was limited to 400 ISO films, pushed when necessary. Color films were initially much slower and gradually started raising their speed. Then came the modern ISO 3200 films embodied by Kodak TMax Black & White3200 film. Hand held evening and low light indoor photography became a reality.

Higher ISO's have always come at the cost of higher noise with digital cameras. There was the same tradeoff with film. Film's grain pattern is generally more pleasing to the eye than Digital's "grain". There is some argument as to whether it is because "film grain" is what we are used to or because of other reasons. In any event, most Street Photographers have strived to eliminate unpleasing grain would choose the look of "film grain" as opposed to "digital grain.", when stuck with one or the other.

The F10 has a truly revolutionary sensor, as far as prosumer digital cameras are concerned. DSL's, often use larger chips to capture the digital image. If they do not, it is the body, the lens and software that makes than a better camera than the F10. Prosumer cameras use a postage sensor, the sized referred to as APS. The latest 7+ mega pixel sensor that is used in most cameras is manufactured by Sony. Each company has competed to improve their software architecture to accommodate this sensor. In order to miniaturize the camera, the sensor size must be limited unlike their larger cousins, the DSL's. The F10 has a 6.3 mega pixel sensor. In the past, Fujifilm interpolated their mega pixel count, arguably inflating it unfairly. This sensor is a full interpolated 6.3 mega pixels. What is unique about this camera is that it comes with an ISO rating of 1600. While in my opinion, this camera should only be used at a maximum of ISO 800, it will capture a usable image at the higher ISO, if necessary, and it shoots genuine usable images at ISO 800.

I am not going to go into all the specifications of the F10. Suffice it to say that it is a small, simple, camera that can do what my expensive film cameras can do with that high ISO film. In addition,
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Ken Brody Professional Photographer
and
Christopher Robinson Managing Editor Pixiport:Photo Ezine Art Photography Magazine"Interview by 'Zen Within The Frame'
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Christopher Robinson Managing Editor "

Tryst Anniversary Issue 13: Contents

Tryst Anniversary Issue 13: Contents

Tryst Anniversary Issue 13: Contents

Pixiport:The Voice Behind The Lens Michael Dubiner

Pixiport:The Voice Behind The Lens Michael Dubiner

Pixiport:The Voice Behind The Lens Michael Dubiner

Pixiport:The Voice Behind The Lens Michael Dubiner: "FUJIFILM FINEPIX F10-A STREET PHOTOGRPHERS DREAM DIGITAL CAMERA
(But you may not want to rush out to buy it yet, there may be better to come next month"

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Pixiport:Photo Ezine Art Photography Magazine: "Pixiport Photographers In The News"

Pixiport:Photo Ezine Art Photography Magazine

Asci's 7th International Digital Print Exhibition

Helyn Davenport's 3 images Demure, Dance of Hibiscus and Pink Lady will be on display.ASCI's 7th International Digital Print Exhibition

October 1 - January 15
New York Hall of Science
Reception: Oct.2, 2-5pm
This year's exhibition, will examine what artists and scientists would like to show us about the nature of the exquisite in all of its ramifications.
The New York Hall of Science
47-01 111th Street Flushing Meadows-Corona Park Queens, NYC 11368