Artists Photography-PixiPort Blogs

PixiPort:Photography Art Videos

2006-10-27T13:20:00.000-04:00

PixiPort:Photography Art Videos

Guild Wars Halloween Video Dist 25 LA October 26!

EpixiCards- Free Ecards Online Greeting cards-Animated-Birthdays-Friendship -

2006-09-29T20:58:00.000-04:00

EpixiCards- Free Ecards Online Greeting cards-Animated-Birthdays-Friendship -

PixiPort:Photography Art Videos

2006-09-29T20:28:00.000-04:00

PixiPort:Photography Art Videos: "NOYCE-YEAR 03 by Mark-Steffen Göwecke "

Pixiport Art Auctions

2006-09-16T18:35:00.000-04:00

Pixiport Art Auctions

Morris Alkalay

2006-08-11T11:29:00.000-04:00

Morris Alkalay born in Istanbul 1946 embarked on his photography career on 1980 in Tel Aviv, at a time he worked for a Marinland as the curator, being also in charge of the photography department that generated press releases and annotations for displays. Actually his love and interest for photography dates back to a Red Sea diving safari in 1976 at a time he did not yet photograph. There observing an Underwater Photography course, watching the divers measuring distances, using underwater flashbulbs and taking notes on pads, all underwater, he became thrilled by the whole magical process.

Then, one thing leading to another, he attended courses, also assisting advertising photographers whenever possible, he established his own business, a photo studio providing a variety of services such as product photography and a commercial lab serving other photographers in the hi tech businesses. Later on Morris Alkalay traveled to in Los Angeles, CA, than to Miami, South Beach, FL where he specialized working as a fashion photographer.

Currently while he maintains a variety of commercial photo services, you can still find Morris in his spare time underwater, with his camera, visiting his small or big aquatic friends, as they willingly model for him in exchange for small handouts.

The body of fine art work I am privileged to share with you here reflect a certain spectrum of work I have enjoyed creating lately, hoping visitors might enjoy viewing. I shall be more than happy to assist you, should you decide upon making a purchase of my images.

Pixiport Fine Art Photography Newsletter

2006-08-11T11:25:00.000-04:00

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Pixiport fine art photography Contest

2006-08-11T11:22:00.000-04:00

Catagories

1. Best Humorous image Can include animals, children or people
2. Best Wildlife/Nature
3. Best Travel image Exotic locations
4. Best Romantic image

Cost for each image is $20.00 US via paypal, you can enter multiple times. Each file should reflect your name on it i.e.: Bobsmith-1.jpg bobsmith-2.jpg and so on.
Winners photos from 1st to 10th place will be on display at Interior Motives Fine Art Gallery 1110 Central Avenue St.Petersburg, Florida
Judges Michael Woodward Helyn Davenport

PIXIPORT:Fine Art Of Marketing Art Article #1: The benefits of licensing your work

2006-04-10T22:58:00.000-04:00

PIXIPORT:Fine Art Of Marketing Art Article #1: The benefits of licensing your work: "Article #1: The benefits of licensing your work
Michael Woodward
Art Licensing
Licensing Fine Art
Licensing Fine Art The benefits of licensing your work a course taught by Michael Woodward.
Many artists and photographers often struggle to make a living. They may work in the advertising or editorial fields or they may sell originals via galleries in the fine art market. They may be printmakers, illustrators or simply commercial photographers trying to create an additional income stream.
"

Pixiport:Documentary Photojournalism Photography Photos With Photojournalist Ami Vitale

2006-03-14T22:27:00.000-05:00

Pixiport:Documentary Photojournalism Photography Photos With Photojournalist Ami Vitale: "Documentary Photography

Photojournalist

A M I V I T A L E
AFRICA
In 1995, she had visited her sister, then working for the Peace Corps in the tiny remote village of Dembel Jumpora in the east of Guinea Bissau. A grant in 2000 from the Alexia Foundation for World Peace, Inc enabled her to return there to photograph in 2001.
The opportunity led her to realize that she wanted to show how the ordinary people of the majority world live, and to promote a real understanding of other cultures. Vitale went intending to stay a couple of months, but ended up living in the village with the people there for 6 months. She stayed with a woman and her children in a mud hut, shared their lives, living, eating, sleeping as they did, and helped in their everyday tasks (finding an American education and upbringing had ill prepared her for many of these.)
Since Guinea Bissau, Vitale was based for several years in India, producing memorable work from Kashmir, Gujarat and elsewhere. One of her most surreal works is from idyllic Dal Lake in Srinagar, Kashmir. The shikaras (gondolas) with their posts supporting colored roofs have featured in many travelogues, and she captures them perfectly, reflected in the mirror-perfect water, looking like some fleet of brightly decorated curiously rustic alien space fleet floating above the reflected clouds. Looking in them brings us down to earth with a jolt, as we see the khakis of the Indian border security force, seated guns ready to hand as they set of on patrol.
Now based in Barcelona, Vitale also has a contract with Getty Images, and has worked for a number of NGOs. Her pictures have appeared in magazines around the world, including the major US publications such as Geo, Time, The New York Times"

Pixiport-Fine Art Photography Gallery-Black and White-Color-Digital Art Photos

2006-03-13T18:56:00.000-05:00

Pixiport-Fine Art Photography Gallery-Black and White-Color-Digital Art Photos

Pixiport:Fine Art Photography Gallery Of Art Photographer Helyn Davenport

2006-03-13T18:55:00.000-05:00

Pixiport:Fine Art Photography Gallery Of Art Photographer Helyn Davenport

Flowers Fine Art Photo Collection

2006-03-13T18:54:00.000-05:00

Flowers Fine Art Photo Collection

Jane Goodall: Environment Shouldn't Be Victim of 9/11

2006-02-25T23:56:00.000-05:00

Jane Goodall: Environment Shouldn't Be Victim of 9/11: "Jane Goodall: Environment Shouldn't Be Victim of 9/11
David Braun
National Geographic News

April 12, 2002
Primatologist and National Geographic Explorer-in-Residence Jane Goodallis in Washington, D.C. for the premiere of her new television documentary Chimps in Crisis, airing on National Geographic EXPLORER on MSNBC on Sunday. She talks about the crisis and her changing role as a spokesperson on hot-button environmental issues.

Q: You have said that bushmeat [flesh from hunted wild animals] has reached such a crisis that if something is not done to stop it, the great apes will disappear from the wild within our lifetime. You have been working so hard to make an impact, spread the word, and educate people about this. Have you made any progress? "

Photographer Fights African Poaching With Grisly Pictures

2006-02-25T23:53:00.000-05:00

Photographer Fights African Poaching With Grisly Pictures: "Photographer Fights African Poaching With Grisly Pictures"

Pixiport-Fine Art Photography Gallery-Black and White-Color-Digital Art Photos

2006-02-19T11:20:00.000-05:00

Pixiport-Fine Art Photography Gallery-Black and White-Color-Digital Art Photos

Pixiport:Photo Ezine Art Photography Magazine

2006-02-04T17:47:00.000-05:00

Pixiport:Photo Ezine Art Photography Magazine: "The poor concept, perfectly executed, still makes a poor photograph."

Pixiport Fine Art Photographer Brian Beaney

2006-02-04T00:48:00.000-05:00

Pixiport Fine Art Photographer Brian Beaney

Pixiport-Fine Art Photographers Featured Photo Art Gallery - Photography Gallery

2006-02-04T00:46:00.000-05:00

Pixiport-Fine Art Photographers Featured Photo Art Gallery - Photography Gallery: "Featured Fine Art Photographers"

PixiPort:Fine Art Photography Contest

2006-01-19T05:20:00.000-05:00

PixiPort:Fine Art Photography Contest

Pixiport:News Clips Press Releases Daily Updates

2006-01-15T11:28:00.000-05:00

Pixiport:News Clips Press Releases Daily Updates

PIXIPORT-Art Photography Marketing and Buying Fine Art Online

2005-12-15T15:24:00.000-05:00

A Right-Brained Guide To A Left-Brained Industry-

Pixiport: Photo Art Greeting Cards Fine Art Photography Greeting Cards and Free Photo E-cards

2005-12-11T19:25:00.001-05:00

Pixiport: Photo Art Greeting Cards Fine Art Photography Greeting Cards and Free Photo E-cards

Pixiport:Photo Art Gallery Photo Artists New Photographs

2005-12-11T19:25:00.000-05:00

Photo Artists Weekly updates

Pixiport:The Voice Behind The Lens Michael Dubiner

2005-12-10T20:11:00.000-05:00

THE MANY FACES AT GROUND ZERO

Pixiport:The Voice Behind The Lens Michael Dubiner

2005-12-10T20:10:00.000-05:00

Pixiport:The Voice Behind The Lens Michael Dubiner
WHERE ARE DIGITAL CAMERAS GOING IN 2003 AND BEYOND?
(Money, Megapixels, Multiplication and Miniaturization)

Pixiport:The Voice Behind The Lens Michael Dubiner

2005-12-10T20:09:00.000-05:00

EATING OUT ALONE
While some manage do it with panache, most people feel uncomfortable about eating in a restaurant alone. There is something in the mind of the diner, that makes him feel he is signaling that he is friendless, someone not worthy of breaking bread with.

Of course, many feel perfectly comfortable eating out alone, some probably prefer it. Others, as the gentleman in the first image, may look at it as a respite from a busy world, a time to catch up on paperwork or study, a time for reflection, or nowadays, a time to make those telephone calls that a hectic day does not otherwise not allow for.

There is another group, those that are alone, perhaps friendless, whose decision to dine by themselves is made by circumstance, not choice. These people, are often elderly and because of the life span differential between men and women, are disproportionately female. South Florida is a haven for the widowed and therefore, it is typical to see a woman, dining alone, most often in relatively inexpensive restaurants.

Because of the nature of how I make my images, the picture of the woman above, as with most of my images, did not allow me to inquire as to her marital state, let alone her motivation or feelings on eating alone. It is the nature of the work I do. A glimpse and the press of the shutter. There is no communication and almost never any eye contact. However, when exposing the image, and to a greater extent, after reflecting on the final print, I allow myself to speculate on the meaning of what I have captured, and in this case, the woman's state of mind. Even if I am wrong about what she is thinking or feeling, to me, and hopefully to others who view the image, she is representative of that which I intend the image to evoke. That is what I enjoy about Street Photography.

I must admit, I detest eating out alone. The more formal the setting, the worse I feel about it. I recently had an experience where I had made plans to eat with friends more than a month in advance. The plans were never confirmed. I had been driven to the restaurant and the driver was to pick me up after lunch. When one of the people who I thought I was eating with came in after me and mentioned the coincidence of our being in the restaurant at the same time, my heart sunk. He was eating at the restaurant with someone else. My discomfort increased as I was seated alone with two other place settings. I was .....

PIXIPORT-GLIMPSING AN INSIGHT Photo Artists Interviews

2005-12-06T01:32:00.000-05:00

"GLIMPSING AN INSIGHT INTO THE WORK OF PHOTOGRAPHER
DEMOSTHENES GALLIS "

Black and White Art Photographer Ken Weissblum

2005-12-06T01:28:00.000-05:00

Black and White Art Photographer Ken Weissblum

PixiPort:Artistic Nudes Fine Art Photography Art Gallery

2005-12-06T01:26:00.000-05:00

Artistic Nudes Fine Art Nude Photography Gallery

Pixiport:The Voice Behind The Lens ETHICS OF THE STREET PHOTOGRAPHER Michael Dubiner

2005-12-03T00:25:00.001-05:00

Pixiport:The Voice Behind The Lens ETHICS OF THE STREET PHOTOGRAPHER Michael Dubiner

Pixiport:The Voice Behind The Lens Michael Dubiner

2005-12-03T00:25:00.000-05:00

Pixiport:The Voice Behind The Lens Michael Dubiner: "FUJIFILM FINEPIX F10-A STREET PHOTOGRPHERS DREAM DIGITAL CAMERA"

PIXIPORT-Photography Making Photograms by Landscape Photographer Monte Nagler

2005-12-03T00:24:00.000-05:00

PIXIPORT-Telephoto Lenses an article by Landscape Photographer Monte Nagler

2005-11-19T11:54:00.000-05:00

By definition, a telephoto lens is one whose focal length is greater than that of a normal lens. The longer the focal length of the lens, the greater the degree of magnification. In fact, the magnification is mathematically related to focal length. For example, a 100mm lens produces an image exactly twice that of a normal lens. A 400mm lens gives you an image size eight times your normal lens.

BBC NEWS | UK | Queen leads tributes to Lichfield

2005-11-12T20:16:00.000-05:00

Queen leads tributes to Lichfield

Pixiport:Art Photography News Clips Press Releases Daily Updates

2005-11-11T10:19:00.000-05:00

http://www.1800petmeds.com/petcontest/vote/4433975743626213830

Pixiport:Art Photography News Clips Press Releases Daily Updates

2005-11-10T13:11:00.000-05:00

New on Pixiport.com Art News Clips Updated daily......

Pixiport:Digital Art by Artists Fernando Hocevar

2005-11-03T22:28:00.000-05:00

Fernando Hocevar born in Mendoza, Argentina in winter of 1944. Graduated from Universidad de Mendoza as an Architect.
A solid aesthetic background guides him in his fine arts search. Starting as a photographer he participates in numerous and important competitions, obtaining several prizes that stimulates his activities in this field. Nevertheless, not fully satisfied, the necessity of a more direct contact with the materials for art works guide him to oil painting and the creation of his own world of landscape. He begins to develop a very personal technic and works in an endless series of paintings called ?Landscapes in the country of the calm?. In 1997 a deep change takes place in his creations. Without abandoning the spirit and beauties of his works he starts developing his landscapes by digital processes, medium in which he starts working passionately. After two years of work in this field, in 1999 he surprises Mendoza with an exhibition of 40 works at the Modern Art Museum of Mendoza. This show of large size digital works suggestively named ?Landscapes under the hidden moon? is, in the opinion of the specialized critics, the most important sample of digital art work carried out in Argentina at the time.

Pixiport:Documentary Photojournalism Photography Photos With Photojournalist Ami Vitale

2005-11-02T14:50:00.000-05:00

Documentary Photography

Photojournalist

A M I V I T A L E
AFRICA

In 1995, she had visited her sister, then working for the Peace Corps in the tiny remote village of Dembel Jumpora in the east of Guinea Bissau. A grant in 2000 from the Alexia Foundation for World Peace, Inc enabled her to return there to photograph in 2001.

The opportunity led her to realize that she wanted to show how the ordinary people of the majority world live, and to promote a real understanding of other cultures. Vitale went intending to stay a couple of months, but ended up living in the village with the people there for 6 months. She stayed with a woman and her children in a mud hut, shared their lives, living, eating, sleeping as they did, and helped in their everyday tasks (finding an American education and upbringing had ill prepared her for many of these.)

Since Guinea Bissau, Vitale was based for several years in India, producing memorable work from Kashmir, Gujarat and elsewhere. One of her most surreal works is from idyllic Dal Lake in Srinagar, Kashmir. The shikaras (gondolas) with their posts supporting colored roofs have featured in many travelogues, and she captures them perfectly, reflected in the mirror-perfect water, looking like some fleet of brightly decorated curiously rustic alien space fleet floating above the reflected clouds. Looking in them brings us down to earth with a jolt, as we see the khakis of the Indian border security force, seated guns ready to hand as they set of on patrol.

Now based in Barcelona, Vitale also has a contract with Getty Images, and has worked for a number of NGOs. Her pictures have appeared in magazines around the world, including the major US publications such as Geo, Time, The New York Times, Newsweek, National Geographic Adventure and more. Unsurprisingly she also has a very long list of awards, including the Canon Female Photojournalist Grant, World Press Photo, National Press Photographers Association, POY International and many other awards. One of them was a Magnum grant, given in honor of Inge Morath (1923-2002), the fine Austrian photojournalist.
Her Work:

There are rare moments when one is able to capture a vision of the past and a look into the future. I have been fortunate enough to glimpse a group from the nomadic Fulani tribe after they settled, became farmers and now struggle to adapt to a world that has thrust itself onto them in uncompromising ways in the West African country of Guinea Bissau.

The Fulani, who once crisscrossed the continent of Africa tending the precious herds of cattle, was a civilization whose renowned physical characteristic was its constant movement. The movement that they were accustomed to spun the threads of a rich social fabric of traditions and rituals, many of which continue to endure today.

This is the story of one Fulani family’s life; the age-old rites that persist and those that die in an Africa that few can ever imagine. Among the things that sets them apart from most other ethnic tribes in Guinea Bissau is that they are Muslim. Islamic traditions such as female and male circumcision, five prayer times a day, the Islamic calendar and multiple wives are just a few of the traditions that make up the structure of life in the village. Local beliefs and traditions have come together to produce a brand of Islam that is unique to its area and it’s people. From the belief of tree spirits to the use of traditional medicine or "voodoo", the mixing of cultures that took place centuries earlier have produced a society that blends a unique spiritual universe with the often brutal day to day existence of the physical world.

To an outsider the village may appear to be a place where people live simply and are struggling to survive. While part of this may be true, the social hierarchy and politics among members of the tribe are far more complex than any modern western society. The village is a place where people’s lives are caught up in a rigorous power struggle that is influenced by the past, the present, and the promise of the future. It is a place where the dead and unborn play powerful roles in the fate of the living.

In 2001, with the help of the Alexia foundation I was fortunate to witness this culture working from a calendar far different from our own. It was my hope to present a meaningful look into their lives to show the dignity and humor that exists in their struggle to provide for their children in a place that can be unforgiving to the human body and soul.

The Himalayan region of Kashmir, nestled between India and Pakistan has been called "a paradise on earth" ever since the 16th century when Mughal emperors discovered its pristine beauty and made it their summer capital. Indians took their annual pilgrimages to escape the heat of the oppressive, dusty plains and British colonizers found their way around a law that prohibited outsiders from owning land by building floating houseboats on the idyllic lakes. Today Kashmir is more famous for being the axis of relations between India and Pakistan, a “nuclear flashpoint” that could spark an unthinkable war in South Asia.

The conflict has eroded much that once defined Kashmir. Hindus and Muslims once shared neighborhoods, schools, and close friendships, but nearly all the Hindus fled Indian-governed Kashmir after being threatened by Muslim militants, and are now scattered across India. Sufism, which exerted a gentle influence on Kashmiri Islam for more than a dozen generations, has been gradually pushed aside by the fanatical Sunni Islam practiced by militants from Pakistan. For centuries, Kashmir’s Mughal gardens and wooden houseboats offered diversions to weary rulers. But leisure has vanished from Kashmir. No one visits, and fear has tainted the lives of those who make their homes amid its apple and apricot orchards, in its meadows and in the creases of its mountains.

I wandered briefly into the poetry of Kashmir in November of 2001 and could not let go. Whether trudging through the perfectly etched landscape that included rice fields cascading into the valleys like delicately carved staircases, sipping saffron tea in the warmth of a Kashmiri home or being cradled in the tranquility of a wooden shikara, a gondola style boat, on Dal Lake, this place filled me with affection. I wanted to understand Kashmir and delve below the glassy reflections in its still lakes. The mountains were mirrored perfectly until the oar hit the water, a crack rippled through the reflection and one began to sense that all is not what it seemed. Srinagar, the summer capital of Kashmir once bustled with life and laughter. Now it lies neglected and pockmarked with craters. Hotels have been turned into barracks, guns peek out behind broken glass windows and netting protects the bleary eyes soldiers from the frequent grenade attacks. The surrounding mountains, once lush and dotted with delightful Alpine cottages sit quietly as structures deteriorate and collapse. The poetry of this magnificent culture has degenerated into the language of mourning and everyone here is held hostage to the suffering. The gaping hole of years of conflict have been filled with the corpses of young men and those spaces that remain free lie waiting to devour still more.

These photographs are dedicated to all those who have died and to those that are living in the shadows of those deaths. It is my desire to give justice to the beauty, strength and suffering of Kashmir’s people and to the unique richness of their history and culture. I hope to inspire in others the feelings that Kashmir has given rise to myself, particularly the simultaneous apprehension of beauty and terror. I believe that all the inherent beauty will survive despite humanity’s ongoing attempts to control and destroy it. Because in this intricate place, where truth and fiction are sometimes inseparable, politics and poetry overlap, the pain is sometimes too great to bear, yet joy is still possible.

In February 2002 the city of Ahmedabad, in the state of Gujarat, once famous as the adopted home of Mahatma Gandhi, was the scene of some of the worst communal violence that India has seen in a decade. In retaliation for a gruesome attack by Muslims on a train carrying mainly Hindu pilgrims that left 59 dead, it sparked an orgy of violence that threatened the secular credentials of India. Mobs swarmed into Muslim communities and killed hundreds, perhaps thousands of men, women and children. The city burned as thousands fled their homes and the official death toll was over 1000, though estimates by human rights groups placed the figure much higher. The wounds from this man made tragedy will take a long time to heal as the bloodbath still continues on a smaller scale.

Ami Vitale

Visit Ami Vitale Photo Gallery on Pixiport.com

Pixiport: Abstract Goldfish Art Photos Fish Photography Gallery

2005-10-31T19:10:00.000-05:00

Pixiport: Abstract Goldfish Art Photos Fish Photography Gallery: "If You Talk To The Animals
They Will Talk With You
And You Will Know Each Other
If You Do Not Talk To Them
You Will Not Know Them
And What You Do Not Know
You Will Fear
What One Fears One Destroys.
Chief Dan George"

US News Article | Reuters.com

2005-10-30T20:56:00.000-05:00

US News Article | Reuters.com
Committee to probe Getty museum antiquities

E-books attract young writers

2005-10-30T20:54:00.000-05:00

Come December 2005, the young and talented writers will be invited to join eAuthor contest by Oxfordbookstore.com. They are the fiction writers whose works have never been published as printed books. This time around, they will get an opportunity to have their works displayed on the internet after the online talent search competition

Pixiport-Polariod Fine Art Photography - Photography Gallery

2005-10-28T16:42:00.000-04:00

New Polariod art photos on Pixiport.

PIXIPORT-Art Photography Marketing and Buying Fine Art Online

2005-10-26T19:49:00.000-04:00

Forget for a moment the traditional assumptions regarding the fine arts industry. The stereotyped mythology about artists, galleries and auction services are undergoing a substantial reexamination. The rules are changing, as are the rule makers. This is the visionary sequel to California figurative artist Marques Vickers' 2000 ground breaking publication "Selling Art On The Internet".

Written from the dual perspective of a professional visual artist and collector, Vickers commentary is oriented towards an emerging breed of Internet savvy artist entrepreneur and informed fine art buyer. Slicing through the traditional marketing and investment rhetoric of the art world, he illustrates present and future sales and buying trends and opportunities for both original and reproduction artwork.

"A Right Brained Guide" features over 1200+ website references in seventy-five categories making it an indispensable guide to understanding and maximizing Internet usage. Among the referenced categories include artist and collector reference and research resources, website development services, direct mail sources, licensing outlets and agencies, consumer and business auction exchanges, barter outlets, domain name registration and reseller service, e-commerce services, search engines and indexes, online media publications, payment services, delivery, website hosting and troubleshooting services. legal and appraisal outlets, and virtual fine art marketplaces.

The publication is uniquely distributed on a packaged compact disk in both Microsoft Word and Adobe Acrobat pdf software formats (making it both Windows and MAC compatible). Delivery within the United Sates and Canada is included with the purchase price. (ISBN #9706530-2-6).

Digital Art Gallery

2005-10-23T23:48:00.000-04:00

Digital Art Computer generated art new portal on Pixiport fine art photography gallery.

Jan Esmann, danish artist of the new figurative painting in Scandinavia

2005-10-20T00:03:00.000-04:00

Jan Esmann, danish artist of the new figurative painting in Scandinavia: "'Modern contemporary art, especially modern contemporary painting, has turned towards a renewed interest in the craft of figurative painting. Modern contemporary art is no longer modernist art, but postmodernist art, and as such a renewed interest in the almost lost craft of figurative painting, that modernism killed off, is only natural. As modern artists, in the true sense of the word modern, we have to reinvent classical painting skills in a new form of figure painting. Only this way can we move modern painting forward.'
Jan Esmann 2005. "

PIXIPORT-Event Listings Contests Grants Call to artists

2005-10-20T00:00:00.000-04:00

Pixiport:Black and White Color Professional Fashion Products Photographer Misha Gordin

2005-10-19T21:35:00.000-04:00

JUSTICE HOWARD

2005-10-13T11:12:00.000-04:00

JUSTICE HOWARD has become something of an enigma in art circles around this globe of ours. To call her merely a 'photographer' is a gross oversimplification. It would seem more fitting referring to her as a "visionary aesthetician". An artist who visualizes what the camera documents. The body of work she has created in her short career consists of an aesthetic architecture that enhances the female form and the personas of the human condition in all its kaleidoscopic temperaments
Artistically articulate, Justice Howard's work has attained greatness parallel to Herb Ritts & Annie Liebowitz. While being evocative, and often confronting, Justice Howard's work has always been precocious. Internationally renowned in over 25 countries Justice Howard's client list reads like an "artistic wish list". Marilyn Manson, Siegfried & Roy, Dave Navarro, Waylon Jennings, Rich Little, Blue Man Group, Julie Strain and dozens of Playboy Playmates & Penthouse Pets have been captured by her lens. ">Global Art: Fine Art Gallery Online With Painters,Sulptures,Graphics and Art Photography With Studios For Artists "JUSTICE HOWARD has become something of an enigma in art circles around this globe of ours. To call her merely a 'photographer' is a gross oversimplification. It would seem more fitting referring to her as a 'visionary aesthetician'. An artist who visualizes what the camera documents. The body of work she has created in her short career consists of an aesthetic architecture that enhances the female form and the personas of the human condition in all its kaleidoscopic temperaments
Artistically articulate, Justice Howard's work has attained greatness parallel to Herb Ritts & Annie Liebowitz. While being evocative, and often confronting, Justice Howard's work has always been precocious. Internationally renowned in over 25 countries Justice Howard's client list reads like an 'artistic wish list'. Marilyn Manson, Siegfried & Roy, Dave Navarro, Waylon Jennings, Rich Little, Blue Man Group, Julie Strain and dozens of Playboy Playmates & Penthouse Pets have been captured by her lens. "

Pixiport-Fine Art Photographers Featured Photo Art Gallery - Photography Gallery

2005-10-06T20:23:00.000-04:00

FIne Art Photograpohers featured at Pixiport this month.

Pixiport:Photo Ezine Art Photography Magazine

2005-09-29T20:06:00.000-04:00

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

2005-09-24T13:36:00.000-04:00

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.

PixiPort:Photography Art Videos

2005-09-23T01:34:00.000-04:00

PIXIPORT-Event Listings Contests Grants Call to artists

2005-09-22T21:19:00.000-04:00

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

2005-09-21T00:49:00.000-04:00

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!!

2005-09-20T21:30:00.000-04:00

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

2005-09-20T21:22:00.000-04:00

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

2005-09-20T21:17:00.000-04:00

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.

Pixiport:Infrared and Silver Gelatin Photography Art Gallery

2005-09-20T21:14:00.000-04:00

PixiPort:Photographers in the news and photography resources ,books, fine art news.

2005-09-17T10:57:00.000-04:00

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

2005-09-15T10:57:00.000-04:00

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,
Visit Pixiport for cont of article

Pixiport:Photo Ezine Art Photography Magazine

2005-09-14T11:47:00.000-04:00

Ken Brody Professional Photographer
and
Christopher Robinson Managing Editor Pixiport:Photo Ezine Art Photography Magazine"Interview by 'Zen Within The Frame'
Ken Brody Professional Photographer
and
Christopher Robinson Managing Editor "

Tryst Anniversary Issue 13: Contents

2005-09-13T19:59:00.001-04:00

Tryst Anniversary Issue 13: Contents

2005-09-13T19:59:00.000-04:00

Pixiport:The Voice Behind The Lens Michael Dubiner

2005-09-12T22:31:00.000-04:00

Pixiport:The Voice Behind The Lens Michael Dubiner

2005-09-12T22:30:00.000-04:00

Pixiport:Photo Ezine Art Photography Magazine

2005-09-10T14:39:00.000-04:00

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

Pixiport:Photo Ezine Art Photography Magazine

2005-09-07T11:52:00.000-04:00

Asci's 7th International Digital Print Exhibition

2005-09-05T00:01:00.000-04:00

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

PixiPort:Artistic Nudes Fine Art Photography Art Gallery

2005-08-27T18:39:00.000-04:00

Updated

Pixiport:Books Of Fine Art Photography by Photographer Helyn Davenport

2005-08-25T11:25:00.000-04:00

Pixiport:Fine Art Photography Photographers In The News Pixiport Ezine Art Magazine

2005-08-22T11:39:00.001-04:00

Pixiport:Fine Art Photography Photographers In The News Pixiport Ezine Art Magazine: "Making a multi-layered image, using photos, painting and Blending Modes.
You can build up a picture from as many layers as you want - as many as your computer's memory can cope with! This picture, which will have over 30 layers of photographs and painting, will have the appearance and atmosphere of a Victorian Pre-Raphaelite painting, using present day photographs.
1.Choose a background for the picture. If, like this one, the subject is architectural, you may have to use the Edit... Transform...Perspective? command - to straighten up the verticals. It is a good idea to have a rough plan of the finished picture so that you can choose your photographs from stock, or take new ones especially for the picture. If you want to use an artist's painting for inspiration, this is fine, because it gives you a pre-ordained structure but the components of the picture must be photographed by you. (It is NOT a good idea to scan any part of another person's artwork without permission, because of copyright.)
2. Make a loose selection of a figure, using the Lasso Tool and super-impose, as a layer, on to the background. In the Layers Palette, select Normal blending mode. When making very loose selections, it is easy to clean up the edges by going to Layers?Add Layer Mask?. Reveal All. Now take the paintbrush, and paint around the edges of your selection, which you will see disappearing. If you paint out too much, you can use the keyboard command 'X' and paint the edges back in again. Toggle 'X' and paint more background and so on. Thus, using also a bit of magnification, it is easy to get a perfect selection. "

Pixiport:Fine Art Photography Photographers In The News Pixiport Ezine Art Magazine

2005-08-22T11:39:00.000-04:00

Pixiport:Fine Art Photography Photographers In The News Pixiport Ezine Art Magazine: "Alessandro Bavari was born in Latina, a coastal town south of Rome, Italy, on april 1963.
Grown up in an italo-french family, he was early attracted by artistic matters and decided to attend art college, where he began making photomontages at the age of 15.
Then, he studied scenography, photography, history of art and various other topics at the Academy of Fine Arts, in Rome, where he developped strong grounding in the techniques of oil, watercolours and engraving, while experimenting at the same time methods mixing tar, glue, industrial paint and exploring photographic printing techniques.
During these years, he took the habit of making numerous photographs everywhere he goes : human and animal matters, objects and architecture, pictures and landscapes, fossils and materials, which join his mental museum, also strongly influenced by indo-european cultural myths and allegories as well as 14th and 15th century artists.
Since 1993, he adds digital manipulation to his art, developping a personal artistic language using industrial and organic products from nature before incorporating photographic process, then computer digitalization, which leads to 'a kind of contamination among the arts dissolving the boundaries which distinguish them'.
PERMANENT COLLECTIONS
08/2002: (Photography) University of Saint Francis, Fort Wayne, Indiana, USA 02/2002: (Photography) RMDAC gallery - Denver, USA 01/2001: ZoneZero, (Photography) 'Sodom and Gomorrah, a reportage from the lost cities' - MEXICO 04/2000: Adobe, (Photography) - UK
MUSEUM COLLECTIONS
12/2001: (Photography) Jyvaskyla Art Museum - FINLAND 08/1996: (painting) Cultural palace: Modern Art Museum - LATINA, ITALY
"

Pixiport:Fine Art Photography Photographers In The News Pixiport Ezine Art Magazine

2005-08-22T11:38:00.000-04:00

Pixiport:Fine Art Photography Photographers In The News Pixiport Ezine Art Magazine: "Ken Weissblum

Like most artists, there are several influences on my work as a photographer. My training and practice as a psychoanalyst facilitates free associations that are reflected in my images, and it enables me to work intuitively with my models (nudes). Residing and working in New York City affords me access to a diversity of cultural genres, in particular dance, which is the primary source for my models. I engage them as collaborators, giving them the freedom to respond to a concept or interact with an object as I visually capture their expressions and movements. I am inspired by the Dutch Masters to search for unusual ways to utilize light, and, like the Surrealists, I shape my fantasies into dream-like realities. "

Pixiport:History of Notable Women including Artists,Writers, Photographers and Politics

2005-08-20T22:15:00.000-04:00

Pixiport:History of Notable Women including Artists,Writers, Photographers and Politics: "History Of Notable Women
Including, Artists, Writers, Politicians, Poets, Photographers"

Submit Free Press Releases Find Art Contests,Art Grants,Art Events Artists and Art Galleries

2005-08-20T11:41:00.000-04:00

List and View events, contests, artists resources

Pixiport:Fine Art Photography Art Portals Black and White, Color Digital Art Photos Ezine Art Magazine

2005-08-16T00:12:00.000-04:00

Pixiport:Fine Art Photography Art Portals Black and White, Color Digital Art Photos Ezine Art Magazine: "Pixiport Photographers In The News"

PixiPort:Artistic Nudes Photo Art Gallery

2005-08-10T12:49:00.000-04:00

PixiPort:Artistic Nudes Photo Art Gallery

PixiPort:Fine Art Photography Contest

2005-08-05T18:37:00.000-04:00

PixiPort:Fine Art Photography Contest

PIXIPORT-Famous Snippets,Quotes and Soupcons

2005-08-05T18:36:00.002-04:00

PIXIPORT-Famous Snippets,Quotes and Soupcons: "Snippets, Quotes and Soupcons"

Pixiport:The Voice Behind The Lens Michael Dubiner

2005-08-05T18:36:00.001-04:00

Pixiport:The Voice Behind The Lens Michael Dubiner

2005-08-05T18:36:00.000-04:00

Pixiport:The Voice Behind The Lens Michael Dubiner

PIXIPORT-Art Photography Marketing and Buying Fine Art Online

2005-08-05T01:13:00.001-04:00

PIXIPORT-Art Photography Marketing and Buying Fine Art Online: "A Right-Brained Guide To A Left-Brained Industry-Marques Vickers
Forget for a moment the traditional assumptions regarding the fine arts industry. The stereotyped mythology about artists, galleries and auction services are undergoing a substantial reexamination. The rules are changing, as are the rule makers. This is the visionary sequel to California figurative artist Marques Vickers' 2000 ground breaking publication 'Selling Art On The Internet'.
Written from the dual perspective of a professional visual artist and collector, Vickers commentary is oriented towards an emerging breed of Internet savvy artist entrepreneur and informed fine art buyer. Slicing through the traditional marketing and investment rhetoric of the art world, he illustrates present and future sales and buying trends and opportunities for both original and reproduction artwork.
'A Right Brained Guide' features over 1200+ website references in seventy-five categories making it an indispensable guide to understanding and maximizing Internet usage. Among the referenced categories include artist and collector reference and research resources, website development services, direct mail sources, licensing outlets and agencies, consumer and business auction exchanges, barter outlets, domain name registration and reseller service, e-commerce services, search engines and indexes, online media publications, payment services, delivery, website hosting and troubleshooting services. legal and appraisal outlets, and virtual fine art marketplaces.
The publication is uniquely distributed on a packaged compact disk in both Microsoft Word and Adobe Acrobat pdf software formats (making it both Windows and MAC compatible). Delivery within the United Sates and Canada is included with the purchase price. (ISBN #9706530-2-6)"

PixiPort:Special Photo Artist Invitational Exhibition Of Fine Art Photographers

2005-08-05T01:13:00.000-04:00

PixiPort:Special Photo Artist Invitational Exhibition Of Fine Art Photographers

PIXIPORT:Digital Photoshop Tips Image Editor

2005-08-05T01:12:00.000-04:00

PIXIPORT:Digital Photoshop Tips Image Editor: "Adobe Photoshop and Painter
By
Carol Tipping "

PixiPort:Photo Journalist Renee Falcke Press Photographer

2005-08-05T01:10:00.001-04:00

PixiPort:Photo Journalist Renee Falcke Press Photographer: "Meeting Ren?e Falcke
Interview by Mia
First, some minor clarification between a press photographer and a photojournalist: A press photographer works for a newspaper; whereas, a photojournalist presents a news story primarily through photography with a supplementary written copy. I've noticed in the few weeks I've been corresponding with Ren?e Falcke that I've used both terms interchangeably and wondered which title adequately fit Ren?e. After interviewing Ren?e, whom I've come to know on a more personal level I realized neither description really suited her whole being. For one, journalism often demands sensationalism and capitalizes on 'newsworthy' events. But what is considered newsworthy to some becomes questionable to others when ratings are the primary force behind a media's intent to sell. For true syndication, newsworthy is the headline grabber, an immediate response to a situation without much regard for the human-interest story. The story comes later in the form of flash bulbs, microphones shoved in people's faces, and answers jotted down hastily to inane questions such as, 'how did you feel about losing your entire family?'--Well, just how would anyone feel under such tragic circumstances?! As a viewer I am appalled by this degrading approach to stripping the person of his/her dignity. Not far behind are tabloids with their gossip columns and tell-all approach. So I felt reluctant to classify Ren?e as a photojournalist. Ren?e, however, has no reservation about how she perceives herself:"

Famous Quotes For Artists and Writers

2005-08-05T01:10:00.000-04:00

Famous Quotes For Artists and Writers

Pixiport-Fine Art Photography of Artistic Nudes Art Gallery

2005-08-05T01:09:00.001-04:00

Pixiport-Fine Art Photography of Artistic Nudes Art Gallery: "Artistic Nudes Fine Art Photography
Elena Vasilieva

Fine Art Photographer"

Inside The United Nations Photo Essay

2005-08-05T01:09:00.000-04:00

Inside The United Nations Photo Essay

PIXIPORT-Inside the United Nations: a photo essay by Judah Harris

2005-08-05T01:08:00.000-04:00

PIXIPORT-Inside the United Nations: a photo essay by Judah Harris

Pixiport:Fine Art Photography PHOTO Contest

2005-07-12T10:21:00.000-04:00

Pixiport:Fine Art Photography PHOTO Contest: "2005
First place in color and in Black and white category $300.00 Spnosored by Investors Capital Funding Corp and a Pixiport gallery.
2nd place $100. 3rd, 4th and 5th places.
Judges to be announced at later date.
Cost for 3 images $10.00 US via paypal, you can enter multiple times. Each file should reflect your name on it i.e.: Bobsmith-1.jpg bobsmith-2.jpg and so on"

Pixiport:Photo Art Gallery Photo Artists New Photographs

2005-07-12T10:20:00.000-04:00

Pixiport:Photo Art Gallery Photo Artists New Photographs: "P h o t o A r t G a l l e r y

Photo Artists New Photographs

PixiPort's Elite Photographers-Updated Weekly"