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Coolbackgrounds, You can easily coyp/paste design and create custom backgrounds , Hope you like it.
More Plaster Surface Texture Can be found here:
This is the surface of "Heart's Portal to Nature." It must have been very challenging for the camera. This is a painted surface irregularly coated with polyurethane, nothing for the camera to "focus" on.
Please join me in my blog “A Year of Art: Scientist Plunges into Art”
via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/143334946281
Just Pinned to Cycle Lane Line Marking: Home in Cridmore - The...
Please view LARGE.
Ever wondered what Mars would look like if it becomes a tourist attraction? :)
This was taken en route to the sand dunes... a long stretch of nothingness on an empty road has a strangely calming effect on the mind.
If you own a Surface Pro 4 or a Surface Book, there is a good chance you are looking at picking up the Surface dock. The device, which will set you back $ 199, is not cheap but it does expand the functionality of your Surface quite a bit.
Earlier this week, I ordered two Dell...
www.solutionssquad.com/blog/how-to-run-two-4k-monitors-fr...
Writing an essay on Margaret Atwood's "Surfacing". I feel like I need to come up for air myself... :)
From my bathroom. Took a lot of shots to get a few really decent ones, but once my timing was in sync with the drip it was OK.
Also, laying in the bath holding position to get the shot isn't anywhere near relaxing.
I quite like the limescale - I thought of cleaning it off, but then I figured that this was more "honest" (if that means anything to you!.?)
Handheld
Sigma 70-300 macro
Kenko 1.4 Converter
EX430 flash
For my final experiment I attached several balloons and coated them 4 times with a mix of PVA glue and sand. I then popped all the balloons and was left with this hard, bulbous, sandy shell.
Frozen surface of the Ottawa River. Sometimes when it is extremely frozen people can skate. Also, you can see some people ice fishing.
I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.
artgallery.calpoly.edu/2020/beyond-the-surface
As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.
In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”
Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”
Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.
I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.
artgallery.calpoly.edu/2020/beyond-the-surface
As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.
In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”
Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”
Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.
via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/153212583991
Just Pinned to Cycle Lane Colour Painting: Cycle Lane Line...
It all has to start somewhere. We were shooting some test footage, trying out different film stocks, costumes and how they react to various production design surfaces and the actress.
I couldn't help myself by taking a little photo of the little snapper.
Follow the filmmaking process of the making of the feature film "Love Me Forever" on the 16:9 Cinematic Filmblog at 16nine.blogspot.com
Hi-res: www.flickr.com/photos/ml/4539203849/sizes/o/
Warning/Notice: Only download from my Flickr page or please DO NOT TAKE CREDIT of my photos under CC license from my flickr account such as foter.com who claim credit for my works & host my work on their website. That's uncool. Thank you.