The year 2003 is rapidly moving along. It is already July. PixiPort
wishes all of our readers a safe and happy 4th of July!!! This edition of
the PixiPort Newsletter has several featured artists to view and absorb.
As always "enjoy the journey".
Photo Of The Month
Patrick Loehr Pixiport's POTM winner, Congratulations Patrick!
POTM is sponsored by Digital Art Supplies and winner receives a muti
pack of fine art photo papers.
Digital Art Supplies has the best prices, service and is where PixiPort
buys art supplies. We are proud to recommend them for any of your digital
| Platinum Fine Art Photographer
Gary Auerbach is one of the featured artists and four galleries of
his wonderful platinum photos are available for your viewing
pleasure. PixiPort welcomes Gary and his exciting quality photo
artwork. Below is Gary's biographical information.
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
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
In the process, I hope to educate a public that knows very little
about the platinotype and the platinum photograph.
||Featured Jonell Pickett|
| What our eyes pass by are instances of
incredible imagery. My photographic works refocus our brief glimpses
to reveal the sensual hues, vivid rhythms and brilliant reflections
of the microcosm. The subjects are common forms, up close, whose
surfaces are transformed through light and color, creating a
vibrant, abstract and emotional beauty. The images offer a moment to
transfix on the ethereal minutia within our world. Jonelle
A resident of Southern California since birth, I have been bathed
in the beautiful Pacific sunlight my entire life. As a child I was
fascinated how light and shadow and colors played out before me, and
my reverence of these qualities greatly influenced my development as
My training at Cal State Long Beach (where I received my B.A. and
Art Education Teaching Credential) developed my interest in details,
especially the reflectivity of color. Inspired by the paintings of
Vermeer, and the ethereal qualities of Rothko, my art strived to
capture echoing colors, suspending them in an image to show others
what I see and what I insist exists. .
With my painting style of realism being encompassing and time
consuming, I turned to photography as a way to continue my studio
work while teaching. Through this artistic medium I found I could
record a reality of vibrancy that exists within everyday objects,
enhanced by reflections created by bright sunlight bouncing between
colors. My work tends to be in a triptych format to relate that
sense of the instance, of time and movement. Photography also
enables me to capture a seemingly abstract image of a very real
detail (hence the name "MicroRealism"). My work has been shown in
galleries in New York, Los Angeles, Texas and Nebraska, and at the
Palm Springs Desert Museum.
||Featured William Discount|
| William Alan Discount, born 1929 in
Greenport, New York. Graduate of the School of Visual Arts.
Illustrated Children's books until 1950, then entered Advertising as
an artist and later an Art Director. The last 25 years has
Free-Lanced from Hauppauge. In 1984 he merged his talent with the
computer and started experimenting with digital images. The result
was an ongoing series of striking and realistic visuals of landmarks
and other subjects. Mr. Discount recently developed a series of
original art entitled "Americana Today". A modern version of Folk
For years I illustrated homes (Front elevations and plans in 1
color) for builders. I recently converted the front elevations to
3/4 views, added color and entourage. I also Photographed each and
every shop in the village of Port Jefferson for use in my attempt of
Digital Watercolors. I then used the photos for reference and drew
the shops in the same "folk art" technique as I did the houses. Next
I assembled each scene as you can see. I am in the process of
producing additional PortJeff Scenes and have been commissioned to
do modern folk art of another village.
I am in the process of producing additional PortJeff Scenes and
have been commissioned to do modern folk art of another village.
Visit Gallery... »
| Each and every week twenty four
photographers update their work on the weekly gallery.
This is a sure way to keep up with your favorite photographer's
offerings on a regular basis and enjoy their most current creations.
Links to their individual galleries are alongside their images.
Please feel free to send these artists an email. All of the
artists would love to hear from you and appreciate someone taking
the time to comment and encourage them concerning their work.
||Rodrigo Damian Fernandez|
| Updates in Rodrigo gallery. Rodrigo is one
of PixiPorts surreal artists with a flair for the unique.
Rodrigo Damian Fernandez is 26 years of age. He is a native and
resident of Argentina. He is a graduate (class of 2000) from the
Superior School of Visual Arts. His degree is in Illustration and he
was awarded the title of "Illustrator" upon graduation.
In his artwork, Rodrigo utilizes multiple methods to gain the
unique photo images that he creates. These include the use of
graphite, acrylics, and collage technique as enhancements to his
photo images. His works have been published most notably in the
Spanish edition of "Computer Arts" among others.
||The Voice Behind The Lens|
| ELLIOTT ERWITT'S HANDBOOK|
(Let's Review the Entire Body of Work)
I was very excited to learn that one of my favorite
photographers, Elliott Erwitt, was publishing yet another book,
Handbook. What made the book even more attractive was it's retail
price, $19.95. Erwitt is one of only a small handful of Street
Photographers that I consider among the very best. His viewpoint is
deceptively simple, and yet he often humanizes his subjects with a
sly touch of humor. While a few of his most famous images are
photojournalistic in nature, most of them appear to be spontaneous
and it is often apparent that his subjects do not realize they have
been photographed. This lends the images a wonderful intimacy and
immediacy. While I do not try to imitate Erwitt, I certainly can say
that he has had a great and positive influence on my image making.
Sadly, Handbook was a disappointment. As stated on the dust
cover, "Human (human and sometimes non- human) hands are, with the
possible exception of the eyes, the most expressive parts of the
body...". In fact, many of Handbook's best images capture the
fleeting communication, both conscious and unconscious, created by
the hands that Erwitt saw as he traveled through life with his
camera. Instead of the handsome book I anticipated, I received less
than the best of Erwitt, in what appeared to be a forced attempt to
fit some of the images to the theme of the book. What is that
expression; "you get what you pay for"?
Handbook, as it turns out is a small book . Many of the best of
the images it contains are hand-me-downs, previously published in
Erwitt's other books, sometimes in several of them. The remainder
were a mixture of Erwitt at his witty best and other images that
were uninspired and cliche.
Erwitt has followed in the tradition of many productive modern
photographers, breaking down their monumental bodies of work into
subject related monographs. Sometimes Erwitt has done this superbly,
such as in Museum Watching, a book depicting people in museums and
Son of a bitch, a dog lovers delight. Others have been mediocre such
as On the Beach. This time, sadly, the format has not worked very
well at all.