January 2015 {all wrapped up}

It’s the end of January, the skies unloaded a decent amount of snow in the last two weeks and yet, I am already missing warmer days. From where I sit I can hear the wind’s tantrum across the landscape. Howling through the boughs on trees and against my wind chimes on the front porch, even my door seems to be buckling against its might.

In this early hour it is quiet. My toddler is fast asleep and I am able to wrap my head around all the thoughts I have and purge them into written word. This feels good. It satiates my hunger for creative release. Sometimes, being an artist is a torturous thing in and of its self, more so on the days I am stifled and unable to disappear into my studio- sadly, those days are more numerous than they have ever been.

I am staying positive and not falling back on those dark thoughts at this time. My goal here, right now is, is to recap my January here at Shadow Horse Studios, LLC.  One major change that you may have already noticed was the site revamp. The second, a name change of my photography subsidiary. I am no longer operating under the name Glass Eyed Pony Photography, but instead, Lyndsey Warren Photography.

Why the name change? The oversaturated equine photography market and that fact that Glass Eyed Pony Photography was a name many in the wedding industry didn’t understand. By the way, a glass eyed horse is a horse with a blue eye and not actually a glass eye!

My current wedding pricelist can be see at Lyndsey Warren Photography 2015 Pricing Guide.

The name change allows me to focus exclusively on wedding photography while I am able to return full time to my commercial art and design during the week. Another change: I am also returning to teaching! I am accepting a limited amount of private lessons, pre K through adult, everything from fine art, design, and photography. I am certified and licensed to teach in VA and MD. My focus with children is on homeschoolers in Loudoun County.  More information will be made available through my website and additional media sources as I move towards accepting more students.

In Progress Example

Where my design is concerned, I have a new partial web client! Rock’N’Horse Fitness! Rock’N’Horse fitness is a Pilates and fitness program that focuses on equestrians. The business was conceptualized by Robing Kockler, PMA-CPT Mind/Body Director Sport & Health at Regency and Rock’N’Horse Fitness. Site will be live once domain transfer is complete from the originating host.
 
A partial web client is a client who opted for a design package that only includes design and minimal support. In other words, I am doing the design and layout of her website, which includes the imagery and support, when needed. Robin is going to learn how to maintain and update it herself while I am there as support. I also included in her custom package a brand new logo and I really love this one!


A full web client is someone I take on entirely. Which means, I design their page, I create the social media pages, the blogger platform, the imagery, and client is subscribed to monthly services and maintenance. The domain and web design and marketing is maintained by me. If you’re interested in web design and marketing please contact me for pricing!

Now, let’s talk about one of my New Year’s resolutions! No, I am not talking about health or fitness, though I should be, and believe me, those too are goals of mine, but typically, those are the same goals every year since I hit 25. No, this resolution is about supporting creative professionals and small businesses as a whole.

Each month I plan on showcasing a creative professional I have purchased from. I am making it a priority to support a creative professional each month. This month I will showcase a fabulous jewelry maker I found on Etsy. Blücha from Cottered, England, United Kingdom, who specializes in vintage style jewels, handcrafted with vintage glass rhinestones. Her work is inspired by Downton Abbey & jewels from bygone eras ~ as featured in Feb 2015 Make & Sell Jewellery Magazine!

I purchased this lovely Dandelion Seed Necklace, Make a Wish Good Luck Charm,Real Dandelion Glass Pendant. All images taken with my iPhone 4s.



The pride she has in what she does is evident in the way she packages her items! CUTE as a button!

Even inside everything is all nicely and carefully bundled!

I have a secret love affair with the Taraxacum and their pappas clad achenes! I wrote a poem the year before my son was born.

Common Dandelion
I want to be free like a weed-
A floret from taraxacum parachute ball released to breeze
A bright future nourished from a promising seed,
Land where I want to, taking root where I please.
This is the way I would like my life to be-
No worries not troubles, just a wild weed
In the moment living free
No constraints and my own creed.

When I saw this necklace, I knew I had to have it!

Again, take note of the packaging! Simply stunning!

If you are in love with vintage era things, especially jewelry, then check Blucha's Etsy store!

~January 2015, is a wrap!
Lyndsey Warren
Shadow Horse Studios, LLC

Stephanie & Edwin {Sept, 18th 2014, The Piedmont Country Club, Haymarket Virginia}

On Thursday, Sept 18, 2014 Stephanie and Edwin tied the know at the Piedmont Country Club in Haymarket, Virginia. It was a gorgeous, the venue was perfect, the wedding/event planner, Alicia Cooper of Tina Lane Events, was stellar!

 

 

Alicia Cooper of Tina Lane Events with the bride and groom!

A 50 Morning March: Fall 2013

I spend a lot of time with my son. I am balancing a workload with motherhood pretty much on a solo basis. I do have the help of Montessori Daycare three time a week which helps me immensely stay on task and keep my work flow going. Its not easy and because of it I have really started to appreciate the role single parents play in the lives of their children.

I make a great effort to have my son participate in what I have come to call, "The 50 Morning March". On the two days a week where I have him all day, we eat our yummy breakfast and then head out into the wilds on a morning walk. I carry my camera outfitted in a 50mm lens (my most cherished and beloved lens I own). Of course my 2.5 year old toddler, Connor, carries a camera too! His is an old rebel outfitted with a cheap lens.

He is allowed to take pictures, which matter of fact, are quite interesting. While he doesn't yet have an understanding of composition he has an awareness of interesting things to shoot. His favorite being puddles, though I haven't yet figured out if its the reflections he like or the fact he is waiting for me to turn my back so he has a quick shot of jumping into the puddles he finds along our adventures.

We live up in the furnace mountain area of Taylorstown Virginia, nestled deep in the rural landscape of Loudoun County Virginia, a county of Northern Virginia and part of the DC Metro area. Surrounded by forests teaming with deer and fields full of Angus and or Belted Highlander, sheep, goats, pigs, and horses; there is always something new and interesting to find during our adventures.

I am making an effort to post some shots from each Month, starting with this month of October 2013. Please enjoy! I highly encourage all parents to find some "magic" time to explore the great outdoors with their children. We are continually stuck in a "human" world where we are constantly plugged into computers, cell phones, Ipods, Ipads, etc. etc. Its nice to get away and just adventure into the realm of nature!

Why, Too Many

She looks away; the realization that aching and longing are the same. The something is as unknown as time.

An image begins as a poetic thought…capturing that is hard. I try but I fail. One day…one day.

Why, Too Many
I have questions-
One too many…
They begin with why
and other words thereafter
tag along for the ride.

Outside my window
is a hot morning in grey-
refreshing promise
of rain later today.

The aster and yarrow swelter
and melt, like spent lovers
under hot sheets-
and passion’s raw heat.

The meadow’s shadows shift,
dancing upon the breeze,
a kaleidoscope of shade and colors
falling where they please.

Why do aching and longing
feel entirely the same?
Why do I miss something?
It’s a realization- I cannot tame.

I wait and ache in the way
the bird taking wing
and the blossom in pink
anticipate the coming spring.

Why can I not find it?
Why do I not know what it is?
Why do I miss it?
Why? Why? Why? Why?

2013 Changes to Print Products

Shadow Horse Studios LLC and Glass Eyed Pony Photography will be utilizing new papers for the 2013 year. It is very important for those artists who market museum quality archival works to know the differences in the papers they are using. True archival quality matters to high end collectors with the intentions of purchasing artwork and prints that will be insured and past down through generations. Art is an investment to these collectors. Archival or museum papers are made with a fiber source, such as 100% cotton rag, that will last for centuries WITHOUT CONSERVATION. Acid-free papers are based on cellulose fiber and will eventually yellow as their buffering is exhausted, depending on atmospheric conditions where they are stored and displayed. Although conservation is possible, their lifespan without conservation should be measured in decades, not centuries.

Because digital art is ultimately preserved in a digital format, not on paper, most people mistakenly feel that the expense of a museum paper is not always necessary. While it is true that under good conditions, with archival grade inks and proper storage and display, acid-free cellulose papers can last more than 20 years, this is not ideal for the invested collector who is looking for museum quality archival works that last generations.

For all giclee fine art prints the new papers we are utilizing here in the studio for all  prints and greeting cards starting january 1, 2013 are as follows:


Canson Infinity Arches Aquarelle Rag
The world’s No. 1 mould-made watercolor paper is now available for the digital fine art market, lending a unique and unrivalled character to the fine art reproduction of traditional artwork and photographs. Internally buffered and acid-free, it was designed to meet the longevity requirements of galleries and museums.

A genuine 100% rag watercolor paper, Arches Aquarelle Rag possesses the unique structure, surface texture, and warm white tone that demanding artists expect from a traditional fine art paper. It’s compatible with pigmented and dye inks, dries instantly, and is water-resistant. The absence of optical brightening agents ensures consistency for generations.

Canson Infinity Arches Velin Museum Rag
For centuries, Arches Velin Museum Rag has been chosen to create lithography, intaglio etchings, engravings, and collotypes by world-renowned artists. Today, Arches Velin Museum Rag is available for the inkjet fine art and photograph market.
This mould-made paper has a unique, fine-grained, smooth surface and structure, and a pure white tone that is ideal for sophisticated photographs, museum-grade applications, and fine art printmaking.
Arches Velin Museum Rag is compatible with pigmented and dye inks, dries instantly, is water-resistant, and contains no optical brightening agents. Internally buffered and acid-free, it was designed to meet the longevity requirements of galleries and museums.

Canson Infinity BFK Rives
The world’s No. 1 traditional mould-made printmaking paper is now available within Canson’s Infinity Digital Fine Art & Photo portfolio.
BFK Rives has a unique, fine-grained smooth surface and structure, and a pure white tone that is ideal for sophisticated photographs, museum-grade applications, and fine art printmaking.
It is compatible with pigmented and dye inks, dries instantly, is water-resistant, and contains no optical brightening agents. Internally buffered and acid-free, BFK Rives was designed to meet the longevity requirements of galleries and museums.

Canson Infinity Edition Etching Rag
Canson Infinity Edition Etching Rag is a 100% cotton mould-made fine art paper that is reminiscent of the original etching and printmaking papers. By using natural minerals in its manufacture, Canson has developed a smooth-textured paper with the purest white tone in the industry, high paper shade stability, and a resistance to aging.
This museum-grade paper assures deep blacks, excellent image sharpness, and optimum color gradation, and its slight grain makes it ideal for printing detailed work, color photographs, and black-and-white portraits.
Edition Etching Rag is compatible with pigmented and dye inks, dries instantly, is water-resistant, and contains no optical brightening agents. Internally buffered and acid-free, it was designed to meet the longevity requirements of galleries and museums.

Canson Infinity Museum Canvas Water-Resistant Matte
This traditional, museum-quality, 100% archival cotton canvas has a natural white tone optimized for pigmented inks. Combining modern technical excellence with the texture, feel, and body that only an all-cotton canvas can deliver, it offers the highest quality for the most discerning of reproductions.
It is free of optical brightening agents, with a premium, coated, matte-textured surface that is ideal for giclée applications. Water-resistant and UV-resistant, it can be stretched and mounted with ease.

Canson Infinity Platine Fibre Rag
Platine Fibre Rag is the combination of the latest microporous coating with the premium 100% cotton platinum paper that Canson has supplied for years to the original Platinum and Platine photographic market.
Setting the benchmark for digital darkroom papers, Platine Fibre Rag provides the aesthetic and feel of the original F-Type Baryta Fibre paper, possessing a true pure white tone without using optical brighteners that are known to affect the longevity of digitally produced images.
Platine Fibre Rag’s extremely high Dmax and exceptional gray tones make it the product of choice for black-and-white and color photographic prints. It is compatible with pigmented and dye inks, and internally buffered to resist gas fading and maximize the conservation of prints. It dries instantly and is water-resistant.

Canson Infinity Rag Photographique
Rag Photographique is a 100% cotton, museum-grade white fine art paper developed by Canson to meet the longevity requirements of the digital fine art market. The natural minerals used in its manufacture render an extra-smooth white surface with a sensual feel and one of the highest Dmax ratings available. It is ideal for fine art photography as well as fine art printmaking.
Rag Photographique is compatible with pigmented and dye inks, dries instantly, is water-resistant, and contains no optical brightening agents. Internally buffered and acid-free, it was designed to meet the longevity requirements of galleries and museums.

Moab Entrada Digital Rag Paper
These 100% cotton, smooth, double-sided papers are beautiful surfaces for fine art prints that will last a lifetime.

Bright White — Reproduces vivid color and maximum contrast for exceptionally detailed prints. Bright White is compatible with dye and pigmented inks.
Natural — A soft white sheet created with no optical brighteners. Natural is ideal for black and white images, and it is compatible with dye and pigmented inks.

Moab Lasal Photo Paper
Lasal is a professional grade of digital photo paper featuring brilliant whiteness, excellent image sharpness, and good color density. Lasal papers are universally compatible with the widest range of dye-based and pigment-based inks.
These papers can be laminated with both hot and cold presses and are perfect for general photography, portraiture, presentations, posters, graphic art reproduction, as well as signage. Neutral pH and acid-free. Made in the USA.

Lasal Exhibition Luster 300 — This is a heavyweight, single-sided, ultra-white luster paper that is ideal for gallery and exhibition prints. A new, fourth-generation resin coating produces an extra-wide color gamut never before seen in a luster paper. Named after the Lasal mountains, whose snowy peaks tower above the Moab, Lasal Exhibition Luster keeps true to its namesake, incorporating many of the elements found in the surrounding Moab environment — pure crispy whites and deep, luscious colors. 11 mm. 300 gsm.
Lasal Photo Gloss 270 — This bright white sheet features an instant-dry smooth gloss surface that is also smudge and water resistant. 270 gsm.
Lasal Photo Matte 235 — An instant-dry paper that is double-sided with a smooth, matte surface. Water resistant. 235 gsm.

Moab Somerset Photo Enhanced Inkjet Paper
Digital prints deliver greater resolution than traditional lithographic prints, and offer a wider color range than serigraphy. Reproduce your own masterpieces...or create new ones with a collection of fine art papers.
Somerset Photo Enhanced papers are suitable for most desktop printers (inkjet or bubble), yet deliver museum-quality reproduction and archival quality.

Photo Enhanced Velvet — The answer for artists who demand crisp "photo quality" reproduction without sacrificing the luxurious feel of fine art paper. This radiant white paper, combined with high-quality ink, yields exceptional depth, and rich, vivid colors that grab the eye. 225 gsm.

We are now offering our photography clients an affordable option to our giclee fine art prints with the introduction of our C-print line, printed with a Chromira Digital Printer.

Just what is a C-Print?

From Wikipedia, the free encyclopedia:
http://en.wikipedia.org/wiki/Chromogenic_color_print
Chromogenic color prints are full-color photographic prints made using chromogenic materials and processes. These prints may be produced from an original digital image.

The first commercially available chromogenic print process was Kodacolor, introduced by Kodak in January of 1942. Kodak introduced a chromogenic paper with the name Type-C in the 1950s, and then discontinued the name several years later. The terminology Type-C and C-print have remained in popular use since this time. The chemistry used to develop chromogenic prints today is known as RA-4. Kodak Endura is one of the major professional chromogenic print papers.

The class of color photographic processes known as chromogenic are characterized by a reaction between two chemicals to form (or give birth to) the color dyes that make up a photographic image. Chromogenic color images are composed of three main dye layers—cyan, magenta, and yellow—that together form a full color image. The light sensitive material in each layer is a silver halide emulsion—just like black and white papers. After exposure, the silver image is developed (or reduced) by a special color developer. In this reaction, the color developer in the areas of exposed silver are oxidized, and then react with another chemical, the dye coupler, which is present throughout the emulsion. This is the chromogenic reaction—the union of the oxidized developer and the dye coupler form a color dye. Different dye couplers are used in each layer, so this same reaction forms a different colored dye in each layer. A series of processing steps follow, which remove the remaining silver and silver compounds, leaving a color image composed of dyes in three layers.

Prints can be exposed using digital exposure systems yielding a digital C print. These are exposed using LEDs on light sensitive photographic paper and processed using traditional silver based chemistry. These digital systems expose the paper using red, green, and blue lasers or light emitting diodes, and have the capability of correcting paper sensitivity errors.

All C-Prints are printed on Kodak Archival Supra Endura Professional Photographic Paper which has an extraordinary color gamut and state-of-the art image stability and is available in Glossy, Matte, Lustre, and Metallic.

 

 

 

The Echoes

I am falling back to something sentimental and difficult.

I am returning to the photographic work of a man I loved, admired, and hated.

A tragic something...
and deeply personal

It is a visual journey with poetry of two lives-two journeys taking place at two very different time periods.
Forgiveness? That is a thought that I carry with me on this journey and perhaps you will notice the complexity of this word during the exploration I do with this series.

I am combining my methods of photographic artistic expression with the images belonging to my grandfather, also a photographer.



~His Love~

Only one of many
an apature eye
capturing
beauty (ies)
Doing more than seeing.
She wrote
tragic love notes
set them to flame
watched then burn.
The fire
was easier to bear
than letting go
of the oceans
her eyes
held onto.

~her love~
the one and only

Art Tool or Art Reference: A Copyright Thing

BEFORE MY STUDIO SHOP GOES LIVE IN 2013 this is a
Note To EVERYONE

I have changed my texture and action usage agreement:

You can use my TEXTURES and ACTIONS resources anywhere and however you want in your artwork and photography and in pre-mades!


That includes:

 -Scrapbooking, Fine Art, Crafting, Digital Art, Illustration, etc
 -ANY other commercial use or non-commercial project.
 -You do not have to alter/change it to use them for these purposes.
 -*Premades* My textures and actions can be used in pre-mades with significant changes!

PLEASE, please don't redistribute and sell as your own RESOURCE UNLESS you make significant changes. You are not allowed to claim as your own or sell my textures or actions in their original state.
*This is a new agreement that carries over into the licensing of all my textures and actions when purchases and downloaded and applies to my giveaways from the past to present.

The reason I have made this decision is partly due to the nature of the "monster" when it comes to selling textures and actions. I am continually being informed of people stealing them and really, while I appreciate the "watch dogs" in the community, it becomes much too time consuming  to keep up with. Many textures out in the market have "similar" qualities and looks and often times people are reporting things to me that are in all actuality NOT MINE.

Secondly, I spoke to my own legal representative in regards to the copyrights of such "resources" that has left me rather, well, stunned, but I get it, and I understand now. I can see why there is a huge mass of confusion regarding the copyrighting of "resources". Stock Tools are different from STOCK REFERENCES as I have been informed. I will do my best to explain what I learned in regards to this aspect.

Texture and Action resources are not looked upon the at same as actual STOCK photos (photographs of people, places, things, etc) for the reference and or editorial market are. Those have recognizable subjects are treated under the copyright law quite differently than just action and texture resource. Textures and actions are labeled as art tools, not reference materials. What's the difference?

Here is how I will break it down for your understanding:

Let's start with textures:

Textures are created by an artist for use as an "art making" tool for other artists. It is a tool, much like a crayon. Only in its original form is it truly able to be "copyrighted". If this was not the case then every artist would have to license usage agreements for EVERY WORK OF ART THEY CREATED USING THAT TEXTURE! That means an artist who has purchased a texture can in fact DO WHATEVER they want with it, within their artwork and the creation of other works (even additional "tools" they want to sell).

Let's say, I have a red crayola crayon called Rose Red, that name is copyrighted to me.I may have a secret forumula used to create that red, but in all actuality, everyone has the "ingredients" to create a red crayon of their own, and by all accounts can do their best to match my Rose Red, through their own experimentation. The crayon was created as an art making TOOL, not a "reference". Anyone can take a red crayon and melt it down and mix it with other crayons or waxes or paints, what-have-you, and sell their creation in any form, including another "tool", yes that is right- they can sell the outcome of that "experiment", even if it is another texture.

THE COLOR RED cannot be copyrighted. I can make my own mix of red that may be similar even nearly exact but that is my red, and I can call it Royal Red. That is why paint companies when creating paints of their own (outside traditional paint names like Ochre etc) can only "copyright" the name of their paint and to some extent the "secret" formula. Anyone can take paints and mix colors to create paints that are similar to colors already created.

Now Let's Talk Actions:

Actions are just recorded steps that ANYONE can do themselves in the program they are using, be it Adobe Photoshop or Lightroom etc. The only thing that is copyrighted in actions is the actual name given to the "recording" the creator has chosen  and the way the creator as organized/tweaked the steps inside that action.

Let's pretend I am Rembrandt and I have an apprentice, I teach my apprentice my step by step method I use to mix paint, how I hold brushes while I a paint, and all the "other steps" I take to create a painting with the materials that everyone already has at their disposal.

Photoshop, Lightroom, and all these fancy computer programs have the tools already built in for your disposal to create all the steps that are recorded in the actions, they allow you to purchase additional plug-ins etc to supplement the tools already there. So, when I copyright an action, I am copyrighting the name and the "set" of that action. I cannot prevent the additional tweaking that customers do to my actions, including but not limited to, re-recording my actions with new tweaks and steps.

Textures, Actions, and other "art tools" made for artists to create with are not copyrightable the same way STOCK IMAGES ARE. Reference "stock" images are created to be used as a reference source for all traditional and or digital works where the final completed image takes influence from the look/feel/mood of the subjects within the referenced image or images. Artists who use stock images HAVE TO LICENSE for usage. (buyout exclusivity, dated/timed, general market, etc).

Textures, actions, and presets do not fall into the "reference" category according to the way they are defined by law for usage rights, as they are deemed as TOOLS and not reference. I can only imagine the paperwork that would entail from licensing usage agreements with every single artist for every artwork they create with that texture and or action preset in addition to commercial usage rights that entail from running prints and editions other editorial commercial work of their completed works that contain all the actions and textures (in some case well over a hundred textures can be used in a single piece)....See the problem here?

Video Fast Forward

Woohoo! I am so proud of myself. I have been a on wee bit of a learning curve with producing my own video tutorials and I am excited to announce that I am *FINALLY posting my first "test tutorial" for a large texture unit I am currently developing.

 

This test tutorial and the second test tutorial that is to follow, has been milestones for me in terms of pushing myself to learn a new complex technology rather swiftly. I am excited with the potential I see to continue learning and developing this into a great learning experience for my viewers.

Upcoming lessons in the Texture Unit will include:

• Working with textures to create a painted look to photographs and digital art.
• Creating an old master feel to photographic and digital artwork (a current hot trend within the digital art world). 
• Exploring custom created color overlays and textures for various Chiaroscuro effects.
• Using your camera to shoot for textures: including Bokeh and soft blurs.
• Using fabrics, leaves, glass, and the likes to create textures.
• Creating virtual textures in photoshop with no additional scanned in resources.
• Using traditional art mediums to create textures...

and...
         and...
                  and so much more....



My first "test" tutorial is done. This is just a really roughly hashed out test! But I am finally getting somewhere with all the hard work and late nights :)

Later!

 

Contemporary Nostalgia-a Process

I am always asked about my working methods, so for this blog, I have chosen a to break a recent piece down to demonstrate how I take an idea I have bouncing around in my head and finalize it using my photography, textures, and digital hand painting techniques to create a photobased digital fine art piece.

However, before I begin, I would like to say that as both a digital artist who has worked in the commercial world as an illustrator and concept designer for the last 12 years and as a photographer, who has studied photography since 1998 in art schools ( Hartford Art School and The Maryland Institute of Art, aquiring my BFA/MAT/MFA) I am passionate about defending both as separate "art forms". I will label all my works accordingly, so as not to take away from either field, nor contribute in anyway to the mass of confusion that exists between those two "worlds."

In my opinion, "Fine Art Photography" should be, photography that is created utilizing methods that mirror what we have been able to do in the darkroom and outside of the darkroom during the film days. The reason being is that the digital arts have been, for the last 20 or so years incorporating elements of the photographic picture within various processes used by digital artists. These techniques have been firmly established as digital art techniques and are recognized as such in the commercial/editorial realm and now within the "fine art world"(as slow as this later recognition has been among the upper echelons of the fine art world, who on the broad spectrum still view digital art with an err of caution and a touch of hokem.)

The fact that we have photographers utilizing extreme techniques that are conventionally used in the commercial/editorial world labeling their work as fine art photography, is adding to the confusion of what digital art is and what fine art photography is. Having said all this, those of us who have been trained in the digital arts world, can instantly recognize a doctored photo. Especially those photographers labeling their work as SOOC or done with "minimal" processing. We know who you are!

Nothing gets me so heated as seeing someone using their Photoshop skills to create a photo manipulated image and passing it off as a SOOC image to the general "gullible" public. Or using digital extremes to elevate a photo into the world of "digital art" but labeling it as "fine art photography."  I also have a major issue with a digital painter using a photo as a base and smudging the crap out of it, doing this doesn't make it a "DIGITAL PAINTING". That is still a photo based digital art piece. A true digital painting is, from start to finish, an image that begins as sketch, as in the traditional form, and is then painted digitally.

There are many shows and galleries now, requesting to see the digital working files and the references used  before accepting images, whether they be digital art or photographic art. Which is WONDERFUL news to me, as I do not want to see either art form lost to each other.

There will be new technology on the market that embeds, like a digital thumbprint, a strand of hexidecimal code into photographic and digital works that will in a sense, store all the information of that image. Meaning any digital art creations, will carry the code of ALL pieces of photography, web found images, and copyrighted images, etc within it! I am waiting patiently for this creation to come to fruition as such technology will greatly help in copyright issues.

The image that I am demonstrating with here, is what I would personally label as Photo based Digital Fine Art and not Fine Art Photography due to the amont of digital processing I used to create it.I created this one quickly, so I don't consider it to be at its best where technical skill is concerned. I created this for this blog.

 

 

The image above, is the main piece I am using for the final photo based digital art piece. My computers are custom built with the best processors I can have (or afford at this point and time in my career), as the only way to truly create print ready digital fine art, is to work as LARGE as possible, scaling and reduction apply to digital art just as it would with illustration and art created by traditional media. If I am creating a piece of work for a 10x10 print size, I generally work with 20"x20" at a MINIMUM of 300dpi, sometimes higher and sometimes larger. The final digital image resulting here, will be 80"x80", roughly over 6.5 feet, because I want the print to be 3.5' by 3.5'!

 

I use Wacom Tablets (Cintiq and Intuous), for final editing and proofing, I use a HDMI cord attached to my large screen TV to go over my image wtih a fine tooth comb. I just have to make sure the color calibration of that screen is similar to  what my computers are set at.  The large screen TV works nice and to be honest, I don't want to shell out 10k or more for a computer monitor that size, I am not a large scale commercial studio, so I have no need for that equipment, but if anyone wants to give me one, I will gladly accept it! On a side note, some of James Cameron's computer screens for the creation of  Avatar cost in excess of 400k.

 

People with limited processing capabilities may work at the 3.5'x3.5' size at 300dpi or more and hope for the best. Or they may work as large as they can at 72dpi 110"x110" or larger. But I have generally found that the larger I work both in DPI and actually image size, the better, tighter, cleaner, the final image is when reduced down to the actual print size.

 

I also want to note, I DO NOT ADVOCATE the usage of ANY commercial print company for the creation of true giclee prints etc, (as in meets the standard for archival and collectible insurance requirements). I use FAA to offer general customers an affordable option to true Giclee prints while offering published prints directly from my studio or if the job is too large, from my favorite fine art printer to the collectors who want a piece that can be registered, insured and handed down for generations. If you are wondering why the upper echelon collectors of the art world don't waste their time on FAA, Cafepress, Zazzle, etc, it is due entirely to the print quality etc. You can look for a blog about how to print true giclees and will be listing some wonderful fine art printers that I recommend for their quality of published prints in the future!

 

will be using the foreground of this image

 

will be using the background area of this image

merged backgrounds but not blended...see the line across the bottom

 

playing with color balance, shadow, of the subject image

still playing and tweaking

 

starting to blend the the two background images together

 

still blending and playing with colors and levels in the photo

I moved the subject image to the created background and decide I didn't like the background

 

I have taken out the distant portion of the background

I added more foreground to play with depth of field

I decided to add hounds from another image I had, what's a Master Hunter without a few of his hounds?



Added more to the sky with cloning and digital hand painting. Also decided to make the sky more "moody".

Tweaked the sky a little more with blue and the photomanipulation part is "done".

Prepping the final photomanipulation to get it ready for the digital art processing with textures and such. Basically playing with color, sharpness, shadow/highlight, grain, etc.

 

I am playing with four textures on top of this image after placing an ochre overlay set at 45%

 

I ran my dream blur action over the piece and applied three more textures to give it a vintage look and tone down the piece. This step is done to personal taste level as some may like the look of the above piece better, especially if they like saturated colors and a sharper look.

Slightly more tweaking of color which you may or may not be able to tell on your screen at this size, watermarked and done! Well, done for now. So in short, this was a rather "quick" example of a photo based digital art piece, which I entitled Contemporary Nostalgia. Centuries old sport and a Master Hunter Checking his Iphone :)