PixiPort Fine Art Photography Gallery
 PixiPort Fine Art Photography Gallery Newsletter . Newsletter Updates 
March 3rd 2003 
. . . . . . . . .

in this issue
  • Caterpillar Portal
  • The Voice Behind The Lens
  • Images To Inspire The Imagination
  • Buy N Shoot
  • Thomas Barbey

  • The Voice Behind The Lens
    "POLITICALLY CORRECT?" By Michael Dubiner

    When I saw the man and the young girl at the South Florida Fair in West Palm Beach, Florida pictured above, I was in turn surprised and somewhat dismayed.

    To me, a child on a leash has always appeared a bit unseemly. It appears to blur the line between a human child and a human's captive animal. When I grew up, leashes were not used to keep track of or control children. Then again, times have changed. Obviously some parents find utility in this disconcerting control device. It is not my role, or in my mind society's, for that matter, to quarrel with a parent or guardian's right to do what he or she wishes with their children(within reasonable limits).

    What then is it about this particular image that is so disquieting? Obviously, it is the differing races of the man and the child in light of the history of race relations in America. I know nothing about the man and the child or about their relationship. What I do know is that when I saw them, I was disturbed and was even more so after viewing the image. In fact when I described the image to a friend, and that I was going to display it at an Arts Festival, she commented; "Are Black people going to see it?" She, in fact, echoed a concern of my own that I had not put into words.

    The image, my friend's comment, and my concerns, in essence were the genesis of this article. Should it offend, upset or disquiet anyone more to see this image of a white man holding a black child on a leash then it would if the man and child were of the same race? Would this image even be worthy if they were of the same race? Was this man being "politically correct" in keeping track of the child in this manner? Should he care? Should we?

    Read on...

    Images To Inspire The Imagination
    Ken Windsor Internet Art Journalist

    My aim is to give credit to some great work being shown on the internet, but in doing so the mere act of bypassing the home page can rob Photographers and artists of income generated by site hits, recorded only by visits to the home page. So, I know you will bear with me if you sometimes have to go on a longer journey to see the actual images, as of course we in no way wish to deprive site owners of the benefits derived from actually creating their sites

    To present your work on the Internet is one thing, but to do it with a professional approach, well that is another ball game. JUDITH FALCONER gives us a very polished site, with images full of colour, and a layout which just oozes professionalism.

    Her subjects for this site are American Indians, and although this is a popular subject for artists at the moment, I think that these paintings have something rather special about them.

    Continue with Story...........

    Buy N Shoot
    Buy-n-Shoot.com is Australia's leading online network for the photographic industry. Search for photographers, digital cameras, camera stores,digital / photo labs, camera clubs and 'used' cameras / computers & darkroom equipment!


    Thomas Barbey
    My wife and I work together as a team. We go to many art galleries and find that only a very small percentage of the work, we find to be inspiring. Contrary to many other artists, we both have a strong belief that imagination plays a tremendous role in our body of work. While most photographers catch a glimpse or a moment at the right time and turn it into something by cropping or bringing out the beauty in the world around us, and some manage to do this extremely well, we on the other hand create images that don't even exist or are impossible.

    Every single one of our images has to pass what we like to call the "so what?" test. If a combination of two or more negatives put together doesn't touch us or have any particular meaning, we toss it. We try to combine images and sometimes the results can be disappointing. A giant clock in the middle of the ocean can be an unusual image but if we look at it and say to ourselves: "So what?" This means it isn't good enough. If instead, an ocean liner is going down a "funnel-type" hole and we entitle it "Shortcut to China," it takes on a whole new meaning. The picture takes you into an imaginary world where you can see the captain telling the passengers to fasten their safety belts and get prepared for the descent, and so on.

    At times we come up with ideas beforehand, try to materialize them and it works. At other times, it is an accident and the ideas come afterwards, when the image is already finished and the concept has yet to be understood. It is almost as if we are learning constantly through the process of creation.

    We travel a lot to take photographs of different things and places. Sometimes we use an image several years later, but only when it fits, like the perfect piece in a puzzle, and completes our latest project. Some images are composed of negatives that are separated by a decade in the actual time that we had taken them and only come to life when they found their perfect match. It's the combination of two or more negatives that give birth to a completely unusual vision, but most of all, the title we give the final image is the glue and the substance of the piece.

    Visit Gallery...

    Caterpillar Portal

    Adobe Photoshop. Painter. (Classic/Painter 6 or 7) Alternative Software: Must support layers. 1 Hour. EASY

    1.Choose a simple, landscape photograph. (Because you will be overlaying the photograph onto a coloured background, it is best to first convert a colour, or black and white photograph, to sepia. Do this by using Image Hue and Saturation, tick the Colorise box on the right and move the Hue and Saturation sliders until you have a suitable sepia colour.) Make a very free painting on a piece of paper using watercolours - and scan into the computer, or do this in Paint software such as Painter Classic/6 or 7. (The painting can be extremely fast and simple, because it is not going to show in the finished image, except as colour and texture effect underneath the photograph

    2.Select and Move the landscape photograph, as a layer, over on to the painted background. If you have to re- scale the photo to better fit the painting, go to Edit Transform Scale. Change the Blending Modes of the photograph on Layer 1 and see the different effects. (Most of the Blending Modes give excellent watercolour effects and you may save several versions at this point.)

    3.Use the Eraser Tool to make an edges effect. Bring the opacity down to around 40% and erase, roughly, around the edge of the photo layer, (Layer 1) until you have achieved a rough edge appearance. Some of the underlying painting layer may show through but that is only going to add to the real media effect. Flatten the image .


    . Quick Links...

    Tryst 2nd Interview/Helyn Davenport

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