The Pixiporter
Pixiport Photographers
March 2006 - Vol 1, Issue 5
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Dear PixiPort,

We have a new portal on Pixiport with Michael Woodward.. We will be adding his articles from his course weekly.

Michael has been in the industry for over thirty years. He formed one of the first Art Licensing Companies in Europe in 1979 representing artists, illustrators and photographers working with national and international manufactures and publishers. He has a vast experience in many aspects of licensing from character merchandise, animation as well as fine art publishing both in limited editions through the galleries and mass market publishing via high street retailers. He has licensed over $600 million in retail products in his career.

He now lives and works in Florida where his company Out of the Blue represents a diverse assortment of talented artists, designers and photographers. Art Licensing 101 was published with the express purpose of educating artists to help them understand the way the industry works and has become an essential tool to anyone entering the industry. Please give him a warm welcome!

The benefits of licensing your work 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.

The Licensing Industry is one such way, however you need to have a full understanding of how everything works just like any other industry. Each year over $175 billion is generated in retail sales via the many sectors in Licensing including Character merchandise from films and TV, Personality & Legend licensing, Brand licensing, Sports, Food and Drink, Music, Non- profit and Charity, Fashion as well as Art & Design Licensing.

It’s not difficult to conclude that there are good opportunities within this field for artists and designers as well as photographers and illustrators to earn additional income. Another benefit of licensing which is often not fully realized particularly by “fine artists,” is that it is an incredible way to get ones name out there on a national or even international level. Having a fine art poster line has helped artists like Jack Vettriano to become a household name and for those artists who feel commercialism can be detrimental Vettriano is an example how his commerciality has endeared him not only to the public but at auction his originals now command up to around $50-200,000.

Alex received his formal photography training at the Pretoria Technikon School of Art's Photography School in the early 90's -a preiod in South Africa when the country was in turmil and everyone with a camera wanted to be a photojournalist. While people were taking to the streets in their thousands protesting against the apartheid government, Alex was there with his trusty Canon A-1 shooting images for prosperity. Initially it had been Alex's dream to be a photojournalist.

'I wanted to capture the world like James Nachtwey or Sebastiao Salgado, but soon discovered that there were whole other areas in photography for me to explore. I took the inspiration for my styles from them and moved into different realms as I was exposed to new methods and forms of photography' Alex says.

Even today the influence of these and other photographers can been seen in Alex's work. Tough he has a definite style of his own he freely admits that his work is influenced enormously by photographers whose work he respects. The resultant images aren't merely copies of other photographer's styles but a sublime mix of styles all coming together in one place. Continue Biography

Since 1971 I've worked as a photographer, always striving to locate and share what's good in life. All anyone really photographs is light. The subject is merely a vehicle to transform the light into an emotion.

The marketplace is filled with images that are created electronically or that are manipulated later (found) in the darkroom. The image I create is in the viewfinder. It is a way of seeing - interpreting light and movement in this space. The point of creation is when I click the shutter. What I share with the viewer is this moment, this deliberate act of seeing, this dancer moving in this space, that flower against the skin. I try to show more of the performer in ordinary people doing ordinary things, presenting life itself as a performing art, where everyday details momentarily exist as aesthetic forms embodying ideas and emotions.

New to our gallery is Cameron Adams. He has a unique perspective. Enjoy!
We Walk in Beauty" and "Images of Their Own
by Gary Auerbach

In the Smithsonian Institution's letter of appreciation found at the close of this book, the photographer Gary Auerbach is rightly praised for his artistry and mastery of his craft. Stunning and lush, rich in texture and vibrancy, and deftly composed, the alluring photographs presented here and in the limited edition of photogravures, reveal a compelling talent. But to me, the ultimate beauty of these images lies with Auerbach's subjects as well as his own gifted vision. The indigenous voice--an essential element notably absent in most images of Native Americans-- is celebrated in this path-breaking, harmonic union of images and words. As a librarian specializing in photographs of Native life and people, I have viewed thousands of images over the past twelve years. While studying the face of a handsome and beguiling Lakota Wild West show performer pictured in an early 20th-century studio portrait or while getting lost in the sparkling eyes of a Northern Cheyenne child as she plays with her toy tipi in a faded image taken in Montana, I've often wondered: What are you up to? What are you thinking? Has your family seen this delightful picture? What sort of life do you have? What are your thoughts of yesterday, today, tomorrow? Sadly, in the history of the photography of Native people, the Indian voice has been most striking for its silence. Indigenous people generally have been excluded except as subjects.

Created primarily for commercial markets and anthropological studies, their portraits often revealed more about the photographer's attitudes than they did about Native life and culture. Offensive, degrading, or simply inaccurate captions contributed further to the objectification of indigenous people and kept their real identities a mystery.

In her book about photography and the American West, Martha Sandweiss suggests that 19th-century photographs of Native Americans were "used to endorse a political agenda that involved a systematic attack on native cultures." [1] Susan Sontag, the late critic of contemporary society, is even more scathing in her assessment, claiming that the photography of Native Americans represented the "most brutal" and "predatory side" of photography. [2] And, describing the far-reaching impact of these attitudes, Rick Hill, a Tuscarora photographer and scholar who has written extensively about stereotyping in historic images, states it simply: "The camera photographed Indians but the viewer saw losers."
Native American Platinum Portraits

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.
Photography is a tool I use to better understand my place in the world. Ultimately the images I create are an attempt to connect with the people, places and ideas that came together to bring me into the world.

I am a Colorado based photographer specializing in digital photographic manipulation. My image making is an exploration of the passage of time. This exploration is expressed in different ways through different subject matter. I often find myself examining points in history where fact blurs into fiction, where truth becomes myth, and the familiar becomes unfamiliar.

My Western Fine Art imagery features subjects that exist somewhere between the old and the new west. The cowboy imagery explores a vanishing lifestyle unique to the American west. These images examine the historical roots of a distinct breed of western character. The landscape imagery in this series explores the complexity of the modern west by interpreting a semi- rural landscape undergoing rapid change.

The manipulation techniques used throughout this series strive to exhibit a raw and organic aesthetic essential for the subject matter. These multi-layered images are created by deconstructing and eventually rebuilding an image through a process of merging layers of photographed organic material. In my Landscape and Architecture imagery I often explore themes of isolation, decay and rebirth. I am drawn to these themes because, to me, they represent mortality and define the nature of human history.

My artistic efforts are focused on traditional/digital illustration and the manipulation of photographs. A goal in much of my work is to visually communicate a link to history and to convey a strong sense of place. Most of my work is a combination of digital and traditional techniques. I scan original artwork and photographs for manipulation in the digital environment, resulting in a digital master.
Gerhardt Thompson is one of those rare artists who is able to unify multiple elements into a single, cohesive vision that is often far more spectacular than the sum of its parts. He specializes in photographing the human figure, specifically the female nude, and his penchant for mixing the graceful qualities of his human subjects with the natural landscapes of the Australian bush and beach are absolutely spellbinding. His alchemy of sunlight and shadow, flesh, sand, mortar, and stone, and the rush of the waves, are all ingredients to a magnificent vision. Gerhardt’s work is crafted around a harmony of form where the human body, although indispensable in the overall scheme of things, is not necessarily the main focus of the picture but is instead only of its key ingredients. It is a lovely and refreshing perspective."

Australia is such a unique country. Thousands of miles of pristine beaches, spectacular river ways, its bush lands and vast empty expanses, wherever you look there is something you will only see in Australia.

I was born here and have lived most of my life along the east coast of New South Wales. Australia is an outdoor lifestyle that you just have to indulge. What else can you do! Are you starting to see why I don’t photograph in a studio yet? Well it is not simply that it has been done so many times or in so many ways before more that it could have been taken anywhere in the world. The ever changing and unique Australian landscape is the perfect backdrop for a Fine Art Nude photographic session whether it is on a beach, a river bank, rocky outcrops or a bush land setting.

The end result is something quite unique that cannot be recreated elsewhere. Even the light is different. The intensity of the Australian sun is second to nowhere and creates its own special magic that while absolutely beautiful, is also a challenge to capture and harness in this type of photography. Many try but very few successfully harness and capture the beauty it provides.

It has taken many years of learning to finally understand and use this light to capture the beauty of the female form in harmony with the environment. Finally, it is very much a collaborative effort between the photographer and the models that really makes the difference. I am fortunate that the dedicated models who help create these images share a vision and understanding, without which none of this would be possible.

This is a fine art photography site and if you are offended by nudity please do not enter the Artistic Nudes portal.

Enjoy the journey and remember our artists would love to hear from you.


Helyn Davenport
Pixiport Fine Art Photography

Pixiport Fine Art Photography | 7217 Gulf BLVD | Suite # 124 | Saint Petersburg | FL | 33706