The Pixiporter
Fine Art Photographers
April 15 2006 - Vol 1, Issue 6
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Dear PixiPort,

We bring again the best in fine art photographers on our featured gallery as well as updates on Pixiport's photographers galleries. Enjoy and please remember our artists would love to hear from you.

In my personal collection of fine art photography books, I have added "We Walk in Beauty" and "Images of Their Own" by Gary Auerbach. These are fine quality and in my view, a "must have" in collections of works of art. These volumes are very limited editions. If you are a serious art collector, I urge you to get yours ordered today.

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. Jennifer Brathovde
To Order these and other books by Gary Auerbach ckick HER E

Native American Portraits, by Gary Auerbach, is a 20- page high quality catalogue produced for the one- year exhibition of platinum photographs at the Amerind Foundation Museum and Art Gallery. Included are 14 color plate images, with an introduction by Maricia Battle of the US Library of Congress and John Ware, executive director of the Amerind Foundation.

"We Walk in Beauty" Native American Portraits and Words, Photographed and compiled by Gary Auerbach. 88 pages with 44 duotones and 26 interviews. Representing 12 tribes of Native American People. Limited Edition of 300.

Pixiport features three diverse fine art photographers. Karl Mann, Domenico Foschi and Madalina Iordache

I've been inspired by photographers such as Ansel Adams, Charlie Waite and Martin Henson who has opened my eyes to create professional looking images. I've learnt how to work with Adobe Photoshop like I never thought I would. I know and hope one day that we will see a book on the shelves where not just photographers can see Martin's stunning mono work but the general public can too. I myself have found a style that works for me and that is photographing objects and turning them into a fine art style. Karl Mann Continue Biography

I was born in and spent all my 23 years in some remote corner of Romania. I've been playing with images and colors all my life, ever since I can remember... crayons, watercolor, oils have been my medium... and always have I had lots of dreams and deep needs to express them. I stopped painting for a time when I entered faculty (Journalism), trading images for words, but my need for visual expression never went away... After about two years, I had discovered another form of painting: photography, painting with light. Madalina Iordache Continue Biography

I believe Art has many functions, among which being a vehicle which allows us to explore our own and the Universal truth . An artist also has the duty to support the statement that beauty has infinite facets and that light and acceptance are the necessary ingredients to reveal beauty in everything and in every aspect of life , as horrible as they may be . Eyes are deceiving, truth lies in the heart. Domenico Foschi Continue Biography

Nate Donaldson discovered photography through a chance encounter with fate. The gift of an old camera peaked his interest in visual arts. After much experimentation and some traveling he began looking at the more technical aspects of the art and was influenced by Ansel Adams's zone system. He has also been a fan of the photography and philosophy of Margaret Burke-White, Dorthea Day, Louis Daguerre and Perry Gillespie.

A musician by training he has transferred his views on aesthetics and the meanings behind them to his photographic endeavors. He is currently based out of Missoula, Montana and his work is being shown at a host of local galleries.

In a recent "Art Licensing E-Group", which I listen in on, someone posted a question about the "fairness" or "unfairness" an agent taking 70% commission. This sparked off a very vociferous dialogue within the group which lasted days! I informed the group that although 50/50 is quite normal in Art Licensing it's impossible to judge the "fairness" of a commission rate without knowing all the facts. As there is so much misunderstanding about Agent's commissions I felt it necessary to clarify things a little more. Unfortunately many artists/creators don't realize that one has to compare apples with apples. There are, in fact, so many kinds of agents one has to know exactly what markets the Agent specializes in and how he operates to stand any chance of understanding how a commission structure works and whether it is fair or not.

In the good old days, back in the early '80's there were only a handful of licensing agents- I know because I was the first agent in Europe to issue a full license/contract for each design I sold in 1979. In those days there were artists agents but they knew nothing about licensing. Their expertise was in advertising; book jackets; corporate brochures; children's books, film posters and promotional work. They acted basically as the rep for the artist and commissions averaged around 25-30%.

At this time the only "Agents" licensing work were photo libraries and "Licensing Agents" in the entertainment/character industry. As one of the first "Art" Licensing agents I drew upon my experience in the Photo-library business and used very similar terms. Basically libraries worked 50/50 with their photographers on all licensing revenue less any costs for duplicate transparencies. They also sometimes charged for catalogue entries in their glossy promotional brochures.

This was basically how the art licensing business evolved and most new agents followed suit although in the early days agent's commission rates varied from 35-50%. This basically depended on the overheads each had and how they operated. The same goes today and these rates still vary from 35- 75% depending on how each agent runs his or her business.

1956- Nace in Ribabellosa (Álava). To the 6 years it happens to live in Miranda de Ebro (Towns) >From very young it receives diverse awards in the field of the plastic arts: 1974 - First prize painting. II National Contest of plastic Arts of U.Laborales (Seville) - Acct. III Virgin painting Aid "of Altamira" Miranda de Ebro (Towns) 1975 - Acct. painting in VIII the artistic contest of spring, Gijón - First prize, painting. III National Laborales Or Contest of Plastic Arts (Huesca. Second prize, drawing. - First prize. IV Virgin painting Aid "of Altamira Miranda of Ebro (Towns) 1978 - First prize. VII Virgin painting Aid "of Altamira" Miranda de Ebro (Towns) 1979 - First prize. VIII Virgin painting Aid "of Altamira" Miranda de Ebro (Towns) 1983 - First prize. XII Virgin painting Aid "of Altamira" Miranda de Ebro (Towns) 1980 - It obtains the degree in Beautiful Arts. 1984 - It initiates its activity like illustrator and writer of infantile-youthful books, field in the one that it has published near book some thirty. 1985 - It obtains, by opposition, the chair of drawing. - its activity like photographer Initiates, field in which has published 10 guides photographic and it has collaborated in numerous publications. 2006- Mention of honor "Liteco", Liteco The International, Argentina. INDIVIDUAL EXHIBITIONS (Painting-It photographs) 1978 - Savings bank of the Catholic Circle, Miranda de Ebro (Towns) 1979 - Provincial box of Savings of Alava, Vitoria 1983 - Room of Art Marola, Gijón 1998 - Gallery Cornión, Gijón 1998 - Room of Culture, Bocairent (Valencia) 1999 - Room of Art Box of Towns, Miranda de Ebro (Towns) 1999 - Col.legi ' Aparelladors i Arquitectes Técnics Delegació d'Osona, Vic (Barcelona) 2000 - Gallery Gadda, Zaragoza 2005 - Gallery Small Format or , Valencia. 2006 - Galeríazero, Barcelona - Space orients. Photo, Zaragoza COLLECTIVE EXHIBITIONS (painting) 1979 - Group "Dolmen". Municipal savings bank, Vitoria 1979 - Group "Dolmen". Savings bank of the Catholic Circle, Miranda de Ebro (Towns) 1979 - Municipal box of Bilbao - Classroom of Culture -, Bilbao 1979 - IV painting Biennial, Bilbao 1980 - "Mirandeses Prizes" Municipal Savings bank, Towns 1986 - "the illustration of infantile Literature" - Festival of Cinema of Gijón- Cornión Gallery, Gijón. 1989 - Fair the International of Libro, Mexico 1990 - "Art in the book" Library of Asturias Ramon Perez de Ayala 1991 - Exhibition of the Professional Association of Illustrators of Madrid. Public libraries of Madrid 1993 - "Painting poetry" Cervantes Institute Madrid 1996 - "Painting poetry" Cervantes Institute Bucarest (Rumania), Athens (Greece), Naples (Italy), Rome (Italy), Milan (Italy), Utrecht (Holland) 1997 - Gallery Cornión, Gijón 1997 - "the Glance in a the Water". Museum Barjola, Gijón 1998 - GA (Group of Asturias). Acoustic visual intervention: "transmatérico Art", Box of Asturias, "Okupación of the museum", Barjola Museum, Gijón. 2006 -"Arte in Good Aires", Theo gallery of art, Buenos Aires, Argentina. - "Expo Art Miami 2006", American Ibero The International Gallery, Miami, Florida, The USA. BIBLIOGRAPHY - Illustration, Collection image and words, nº 5. Service of publications of the Community of Castile Mancha, 1987 - "Artefactum". Professional association of Illustrators of Madrid. Madrid, June 1988 - Art in the book. Meeting of Castile and lion, Salamanca Box, professional Association of illustrators of Madrid, Foundation Sanchez Ruipérez, 1988 - Spanish Authors of infantile and youthful Literature. Spanish association of the infantile book and youthful Ministry of Culture, Madrid, 1991 - Great Asturian Encyclopedia, appendix, 1981.1992, volume 20. Gijón, 1996. - Guide of illustrators - Spanish Association of friends of infantile Libro and youthful Ministry of Culture, Madrid, 1997. - Publications in Bable, 1975-1996, Principau D, Asturies, Conseyería de Cultura, 1997 - Guide of authors - Spanish Association of Friends of infantile Libro and youthful Ministry of Culture, Madrid, 1998. - Dictionary of the Culture in Towns. Century XX, Fernando Ortega Barruso, ed. Dossoles, Towns, 2001
Many Galaxy Photography prints have been featured in several major magazines and catalogs. Here is a partial list: Nov.1993,Sky & Telescope Magazine,page 46. - Lagoon and Trifid Nebula. Jan. 1994,Astronomy Magazine,page 103. - Andromeda Galaxy. May.1994,Sky & Telescope Magazine,page 113. - Orion Nebula Jul. 1994,Astronomy Magazine,page 82. -Pelican Nebula. 1994-1995,Meade Instruments, Inc. Catalog Orion Nebula Region, page 27. Veil Nebula, page 29. Andromeda Galaxy, page 30. Jan. 1995,Astronomy Magazine,page 66/67. -Rosette Nebula. About the Photographs

ALL of the photographs were taken using Meade Instruments telescopes. The photographs of nebulae and galaxies were taken using auto-guided time- exposure photography on Fuji HG400 film(120 format). The original exposures, lasting between 2 and 3 hours, were then copied onto Kodak Vericolor Transparency film, from which an internegative was made for the final print. Each step increases contrast and color saturation.
Charlie Schreiner received a Master of Fine Arts Degree from the Rhode Island School of Design. He is a freelance industrial designer and lives and works along the shores of Lake Michigan.

Photography has always been an important tool in his business and he also uses photography as an expressive medium. The daguerreotype is his passion and his daguerreotypes have been exhibited at the George Eastman House in Rochester, NY; Ohio State University; Tri-Cities Museum in Grand Haven, MI; New England School of Photography in Boston; Oakland Museum in California; the North Light Gallery, AZ U.; A Photographers Place, NYC; The Atlanta History Center; The Henry Ford Museum; and the Nelson-Atkins Museum of Art, Kansas City; Center for Photographic Art, Carmel, CA. ...

My interest in daguerreotypes came from collecting vintage images and the periodic wistful thought of making them. I had collected copies of the old journals and several reprints of books on the subject and on paper, at least, understood how it was done. Uncertainties abounded, such as where to find plumbago or whether or not to mess with cyanide of potassium and a long list of others. In time I heard about and then spent time with a person who made daguerreotypes and since have been making them for over ten years. Continue Biography

Have a safe and happy holiday! Enjoy the journey.


Helyn Davenport
Pixiport Fine Art Photography

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