ART and WATER

Help shape the future of the Grand Canyon

2012-01-28T00:58:00.003-05:00

www.americanwhitewater.org

The public comment period only lasts through January 31, 2012.
All comments will be considered so this is the best chance to have a real impact on the flows from Glen Canyon Dam.

The link provided goes to American Whitewater. It has a great synopsis of the situation and will allow you to form your own opinion that you can post. Read the information (it's short). Make your voice be heard. Our influence can help make sure that the water that flows through the Grand Canyon will be varied enough to support the life in the canyon.

Euro/Dollar print exchange

2012-01-26T19:43:00.004-05:00

http://www.jrbham.btinternet.co.uk/edpe/

I'm taking care of the N. America side of things, so if you are from USA or Canada and would like to participate in an alternative photographic process print exchange with our friends in Europe you need to do two things...

1. Read EVERYTHING in the webpage that you will find by clicking the link at the top.

2. Send me an email with your stated interest, your process, and some kind of way to see a bit of your work (be it a website, facebook page, or even emailing me a few small jpegs of your work)

This exchange is not running on a strict schedule, but when we have enough people on this side of the ocean, I'll send everything over to Europe. So, the best strategy is to express your interest, get a print ready to go, then be patient.

plains/mountains

2012-01-25T05:40:00.000-05:00

Ice Rift

2012-01-24T05:06:00.000-05:00

A dammed river

2012-01-23T05:10:00.000-05:00

evaporating faster than it can be replenished

Horeseshoe Bend

2012-01-22T16:04:00.000-05:00

PIPA/SOPA only protects the big media goons

2012-01-18T18:07:00.003-05:00

I am an artist. I do not want people to steal my work, profit from it, or share it without my consent, but PIPA/SOPA are not doing anything at all to help me.
PIPA/SOPA is removing the mechanism for sharing.
PIPA/SOPA is removing the avenues for individual artists and small media companies to share their work and build any business.
PIPA/SOPA is making it harder for individual artists.
PIPA/SOPA does nothing at all for small artists or small creative companies and is a mechanism of the large media companies who do not have any respect for their audience.
PIPA/SOPA is NOT a mechanism to protect artists.
PIPA/SOPA is a means to stifle art.
PIPA/SOPA only services the wealthy mediocre big media companies who "donate" millions to individuals in the legislature to write laws that protect only the big mediocre companies.

You like my work?
Thank you.
Please don't reproduce it and claim it as your own.
But, you CAN share it with a link to the work; something that might be illegal if PIPA/SOPA pass and become law.

Metal Terra Didactyl

2012-01-16T20:39:00.009-05:00

(not mine. Just a super cool thing at the visitor center on the north side of the bridge in Page, AZ with Glen Canyon and Glen Canyon Dam in the background. They've been finding lots of dinosaur footprints since the lake keep evaporating and getting lower and lower and lower...)

Wave Cycle screenprint giclee reproductions

2012-01-04T08:04:00.004-05:00

http://artandwater.smugmug.com/Art/Fine-Art-Giclee-Prints-cycles/

Canvas Prints

2012-01-03T08:03:00.004-05:00

http://artandwater.smugmug.com/Art/Fine-Art-Canvas-Prints

ARTSPACE GALLERY

2012-01-02T05:24:00.021-05:00

"Altered State?"
photography show
opening reception Saturday, January 14
at ARTSPACE Gallery
of Pocono Arts Council

Both of these photogravures of mine will be there. If you are in PA, stop by the show and see them in person (much better looking live than just on the internet)

"Camp 118.6"

"Campsite Quanta"

________________________________________________________________
update January 15, 2012
I am very proud to announce that "Campsite Quanta" received the Juror's Choice award in this show.

Here are some links to press about the show:

http://www.poconorecord.com/apps/pbcs.dll/article?AID=/20120126/LIVING/201260324/-1/NEWS16

http://www.strausnews.com/articles/2012/01/28/pennsylvania/arts_and_entertainment/4.txt

http://forwardianartssociety.blogspot.com/2012/01/artspace-in-altered-state.html

http://www.poconoarts.org/__PApages/__alteredstates.htm

http://www.poconorecord.com/apps/pbcs.dll/article?AID=/20120113/LOCALENT/201130332/-1/rss15

http://www.poconoarts.org/__PApages/__images/newsletter/2012_01_newsletter.pdf

Happy New Year

2012-01-01T00:00:00.000-05:00

Illusion and Chemistry: The Alternative Process

2011-12-27T06:54:00.018-05:00

January 10 - February 4, 2012
at The Kiernan Gallery
23 B West Washington St.
Lexington, VA 24450

This photogravure called "Havasu" is one of the thirty alt pro images selected to hang at the gallery for this juried show. I'm very proud to have this piece hang with so many other fantastic photos in an event that showcases some particularly creative approached to photography (and image-making in general). If you have never seen any alternative process photography, or have only caught a glimpse of alt pro photo before, then you must see this show. I want you to see my photo in real life, but the show is bigger than me. There are so many good pieces to see. It's worth the trip.

http://kiernangallery.com/

Cheim & Reid

2011-12-26T05:58:00.008-05:00

547 West 25th Street
New York, NY 10001
http://www.cheimread.com/

is hosting

Postcards From The Edge
http://www.thebody.com/visualaids/current/postcards2012.html

January 6th - 8th

see this 4" x 6" cyanotype in the show!!!

Merry Christmas

2011-12-25T00:01:00.000-05:00

Happy Hanukkah

2011-12-20T06:32:00.000-05:00

support an artist

2011-12-19T05:01:00.003-05:00

by helping him get his thesis film made

(click on the picture for more information)

Matkatamiba cyanotype

2011-12-12T05:43:00.005-05:00

one cyan, and the other toned with tannic acid

reprints available here

Parked At Havasu cyanotype

2011-12-11T06:42:00.005-05:00

one cyan, the other toned with tannic acid

reprints available here

GrabeFace Unkar cyanotype

2011-12-10T07:40:00.004-05:00

one cyan, the other toned with tannic acid

reprints available here

Deer Creek Sarah cyanotype

2011-12-09T07:39:00.004-05:00

one cyan and the other toned with tannic acid

reprints available here

Havasu Dory cyanotype

2011-12-08T00:37:00.001-05:00

one cyan and the other toned with tannic acid

reprints available here

Grand Canyon cyanotype

2011-12-07T07:26:00.002-05:00

one cyan, the other toned with tannic acid

reprints available here

Art In a Box

2011-12-02T06:42:00.006-05:00

is having their holiday fund raiser art show at
Masters & Pelavin Gallery

"How The Canyon Was Built"
Gel Pen over bleached Cyanotype
(approx. 7.5" x 7.5")

online auction goes live on December 16th at 12:01 am EST
and closes on December 19th at noon

Sale and Party at the gallery on December 19th (Monday)
from 5 - 8 pm

visit Art In A Box to see how they are helping children
http://www.artinabox.org/
(and find out how you can help)

Black & White at Linus Galleries

2011-11-28T06:32:00.009-05:00

see this photogravure of Matkatamiba in the show

Long Beach, CA
opening reception Friday, December 9th, 5:30 - 9:00 pm

http://www.linusgallery.com/blackandwhite.html
2699 E. 28th Street
Suite 416
Signal Hill, CA 90755

Cyanotype Workshop & Alt Process Symposium in DC

2011-11-07T23:10:00.001-05:00

during FotoWeek at Photoworks in Glen Echo Park

These are two of my prints from the Cyanotype Workshop with Barbara Maloney. One straight forward cyanotype and another toned with tea and coffee.

I also went to the symposium on Sunday where each presenter spoke for 30 minutes on their unique alternative process.

here is a link to the FotoWeek in DC. I wish I could have stayed for the photo slam some of the other workshops.
http://www.glenechophotoworks.org/2011/10/13/photoworks-celebrates-alternative-processes/

Big Deal

2011-11-02T06:09:00.001-04:00

Saturday, November 12 from 4pm - 9pm

see this photogravure in the auction at SOMarts in San Francisco

http://visualaid.org/

http://www.somarts.org/exhibitions/main-gallery/

my new Alternative Photography gallery address

2011-10-30T18:03:00.002-04:00

http://www.alternativephotography.com/gallery3/scott-barnes

Ten Minute Monotype

2011-10-23T06:45:00.000-04:00

Grand Canyon photogravures (sepia)

2011-10-22T06:28:00.006-04:00

Gallery 270 currently has the portfolio, of artist's proofs for these prints, to show to collectors. Contact them to see the work in person (much more detail and an incredible impression in real life)

"Havasu"

"Winter Canyon"

"Campsite Quanta"

"Matkatamiba"

"New Years Day 2011"

"Camp 118.6"

This edition of 10 prints with sepia ink was made on Rives BFK Off White 100% cotton paper.
There is another addition of 10 prints with Thalo Black ink that was printed on Rives BFK White 100% cotton paper.
1 artist's proof and 1 printer's proof for each addition.

http://artandwater.blogspot.com/2010/10/keep-on-paddling.html

http://artandwater.blogspot.com/2011/04/kolb-photo-studio-south-rim-of-grand.html

http://artandwater.blogspot.com/2011/02/grand-canyon-sketchbook-slide-show.html

http://artandwater.blogspot.com/2011/05/how-to-make-plate-with-photopolymer-for.html

green wave

2011-10-21T06:37:00.001-04:00

2011-09-23T21:19:00.001-04:00

10 (ten) years ago

Sienna Art Institute

2011-09-17T06:17:00.006-04:00

September 24, 2011
"Drawn Together"
Inaugural Exhibition of the Siena Art Institute

http://www.sienaart.org/

anthotype #10 (Five)

2011-09-10T06:49:00.003-04:00

below: redone with a longer exposure (one month), and with a blueberry "emulsion" instead of wine

Anthotype #9 (Monhegan)

2011-09-09T06:50:00.004-04:00

blueberry base and a month long exposure

red wine base and a three day exposure

Anthotype #8 (Emerging Winter Sun)

2011-09-08T06:51:00.004-04:00

blueberry "emulsion" and one month exposure

red wine "emulsion" and three day exposure

Anthotype #7 (Blueberry Canoes)

2011-09-07T06:52:00.003-04:00

blueberry base and one month exposure

red wine base and three day exposure

Anthotype #6

2011-09-06T06:52:00.001-04:00

Anthotype #5

2011-09-05T06:53:00.002-04:00

(original image captured by Mo Bergmann)
http://artandwater.smugmug.com/GrandCanyonDec2010Jan2011/Grand-Canyon-Mo/15346088_BvS2cj#1149800659_EXdWj

Anthotype #4 (Havasu Dory)

2011-09-04T06:55:00.003-04:00

wine base, one month exposure

wine base, three day exposure

Anthotype #3 (Navajo Bridge)

2011-09-03T06:56:00.003-04:00

wine base, one month exposure

wine base, with three day exposure

Anthotype #2 (Unkar)

2011-09-02T06:57:00.003-04:00

wine base, one month exposure

wine base, three day exposure

Anthotype #1

2011-09-01T18:58:00.003-04:00

* original image captured by Mark Gibson at http://www.12moons.net

** logo is the property of Wilton Wine Merchants

hmmmmm

2011-08-23T01:28:00.000-04:00

Edgar Mitchell & Students from Institute of Noetic Sciences on Vimeo.

Kawanhee Boathouse Chair

2011-08-18T00:51:00.004-04:00

(click on images to make them larger)

Toyed With

2011-08-07T21:26:00.004-04:00

at Open Shutter Gallery in Durango, Colorado
August 27 - October 1, 2011

click on the image to see the show invitation/announcement
(my photogravure is second from the left on the top)

http://www.toyedwithphoto.com/
click on
GALLERY > 2011 ACCEPTED ENTRIES

2011-07-26T20:56:00.001-04:00

click the image to see the full size

Sketchbook Tour comes to Winter Park, FL

2011-07-22T06:00:00.009-04:00

July 29 - 31
at Full Sail University

This link brings you to a nice page to view the Grand Canyon Trip sketchbook
or
search for the book using the ISBN: 978-0615444055

Sketchbook Tour comes to Chicago, IL

2011-07-06T06:00:00.012-04:00

July 14 - 17
at Hyde Park Arts Center

This link brings you to a nice page to view the Grand Canyon Trip sketchbook
or
search for the book using the ISBN: 978-0615444055

Sketchbook Tour comes to San Francisco, CA

2011-06-11T06:00:00.010-04:00

June 18
at 111 Minna Gallery

This link brings you to a nice page to view the Grand Canyon Trip sketchbook
or
search for the book using the ISBN: 978-0615444055

Sketchbook Tour comes to Seattle, WA

2011-06-02T06:00:00.008-04:00

June 10 - 12
at Form/Space Atlier

This link brings you to a nice page to view the Grand Canyon Trip sketchbook
or
search for the book using the ISBN: 978-0615444055

Photography changes during printing process

2011-06-01T23:56:00.008-04:00

Photography has always been full of multiple variables, most of which effect each of the others drastically. Slight changes in printer settings will make the most precise digital output change. Minor chemical variations in traditional (now called "alternative") photography can make a big difference. Same holds true for one of the oldest forms of photography: photogravure.

Look carefully at the two images below.
Same plate.
Same ink.

The process for the top print involved soaking the paper for only 10 minutes, and using a standard three-blanket setup on the etching press. The image has high contrast, some detail loss, and poor transition from light to dark (gradient).

The process for the bottom print was one in which the paper soaked for about an hour, and an extra sheet of printmaking paper was added on top the the paper/plate sandwich to act as a fourth blanket. The gradients are smoother. There are a couple more steps of mid-tone gray. Some very subtle details start to emerge.

I must give credit to Jon Lybrook for reminding me about this subtle, but important, printmaking trick. It was discussed in grad school, but my work at the time was suited for a standard three-blanket set up, so I forgot about the addition of a fourth "blanket" of printmaking paper until Jon mentioned it to me this January (he saw some of my gravure and said, "you know what will even out your tones...")

Note:
in the technical information page (click on Jon's name to get there), he mentions using two pieces of newsprint. When I spoke with him, he suggested using a piece of printmaking paper. I've tried both, and the printmaking paper seems to work better.
I find that I can use the same piece of printmaking paper as the fourth blanket 6 - 10 times before it's too soaked to be effective. I keep a regular rotation of these sheets by letting the wet ones dry, and occasionally stacking them all together and putting weight on top to straighten them out for reuse.

Rochester Contemporary Art Center

2011-06-01T06:21:00.006-04:00

http://www.rochestercontemporary.org/

"Route Rouge" 6"x6"
(photo on top taken outside, photo below taken inside to show topography)

-----------------------------------------------------------------------------------------------

"Vida Verde" 6"x6"
(photo on top taken outside, photo below taken inside)

6x6x2011

gallery update on Alternative Photography site

2011-05-30T20:57:00.003-04:00

http://www.alternativephotography.com/gallery/v/scott-barnes/

showing the first five photogravures from the Grand Canyon series

How To make a plate with photopolymer for safe(er) aquatint printing

2011-05-28T21:57:00.006-04:00

(the original drawing was made by Marie Roberts bitterwonder.com)

I'm looking for feedback on this photo sequence.
So you need another photo to make the process clear?
What questions do you have about any photo?
Leave a comment and I'll get back to you (and this will help me fine tune how to teach this process)

which color blocks UV light better?

2011-04-24T02:22:00.003-04:00

the trick is to get past "common" sense and realize that I am not talking about visible light; I'm talking about Ultraviolet light.
HP has made a big deal about print profiling for one of their new large format printers that is an optimized workflow for creating digital negatives for alternative photographic processes.

http://www.dpug.org/forums/f8/new-video-regarding-hp-design-jet-digital-negatives-2039/index2.html

Yet the priniciple, and much of the process has been around for a while, buried in alt photography forums and websites; a couple of which are laid out well enough to be immediately useful.

http://www.inkjetnegative.com/images/RNP/rnp.htm

I've already agonized over adjustment curves (for compensation and preview), and believe that experimenting with color is the next logical step towards creating a more manageable and predictable workflow for myself.

http://artandwater.blogspot.com/2010/12/on-top-of-white-whale.html

http://artandwater.blogspot.com/2010/11/campfire-old-and-new.html

http://artandwater.blogspot.com/2010/10/keep-on-paddling.html

why framing and conservation is expensive (and important)

2011-04-16T19:24:00.003-04:00

in short, it's both the materials required and time

http://www.vimeo.com/11712163

There is a difference between materials tested by time and materials tested by accelerated time tests.
100% cotton is best for both backings and also as substances on which the art is printed.
"Buffered" boards are only effective for a couple of years. The buffering wears out quickly.
Plexiglass is more stable than aluminum, and less likely to break than glass.

2011-04-15T02:39:00.001-04:00

Kolb Photo Studio

south rim of the Grand Canyon

Little Colorado River from the Navajo Reservation

Kentler International Drawing Space

2011-04-07T05:00:00.015-04:00

"100 Works On Paper"
April 15 - May 13

Artist's Reception and Meet & Greet
Friday, April 15, 6-8pm

http://www.kentlergallery.org/

Sketchbook Tour comes to Washington D.C.

2011-04-02T06:00:00.010-04:00

April 15 - 16
at Hillyer Art Space

This link brings you to a nice page to view the Grand Canyon Trip sketchbook
or
search for the book using the ISBN: 978-0615444055

Printmaking as Painting / Matrix for Abstraction

2011-03-31T03:39:00.007-04:00

Understanding the difference between a monotype and a monoprint gives tremendous insight to what my work is often about. The short definitions are that a monotype is a one-of-a-kind image/print using a given matrix only once, and a monoprint is a one-of-a-kind image/print using the same matrix as other images/prints. The distinctions are subtle, and leave a lot of room for interpretation. Wondering about that interpretation, and being curious about the dividing line between monotype and monoprint leads me to explore the difference between original and reproduction.

This exploration can be related to work that is exploring difference, original work, and reproduction through the continuing dialogue of appropriation and copyrights. The relationship is only cursory, as I prefer to look at the boundaries with my own work and ideas as the origin instead of getting into the discussion about stealing other people's work. I must admit that I cannot be entirely insulated. The work of other artists will surely influence my own work. I want to be careful to give credit when the influence exists.

That was a bit of an extreme divergence, so back on topic...

Using the series of screenprints from last spring as an example might be useful for clarification.
which can be seen here
I started with a single drawing, and enlarged it to be burned onto a screen.
here is the drawing
I then printed the image in three different colors, each color on a different color paper. This started three series of prints from the same matrix. Five additional screens were used to complete the series. But, I used a few of the screens to apply different layers of color in different locations. At some point in the middle of the printing process, I modified screens and split each of the three series of images into two, creating six series with subtle differences. A practical question: are all of these prints labeled as a single edition, or are there 6 editions?

I did a series of monoprints that had fewer variables earlier.
here
It was simply the same image, same screen, using the same order of colors, on four pieces of paper, each with a different color (creating a different color ground for the image).
This series, though simpler in execution, brings up equally complicated concepts. From a printmakers perspective, I wonder if these are monoprints or just some oddly defined edition. They might look good hanging together as one piece. Hung in a square; 2 x 2, would evoke some Warholian pop art idea, and I want to stay away from that aesthetic that is now a frequent tactic of interior decorators. I am far more interested in the moment in which the combination of screen, ink, and squeegee stop being a means of reproduction and start being mark-making devices that are used for drawing something new.

Look at digital "drawing" or "painting" applications. A popular application is "Brushes" for the iPhone. The "brushes" that are offered are really draggable stamps that make the same repeated shape. Some simple variable exists, but the artists using this application is making hundreds of repeated stamps to create something new that is seen as a line, a field, a composition. At what point does the stamp cease to be a repeated image and become a real mark-making device which is used to create a new drawing?

Of course, I'm prone to driving myself to obsession about his topic, and it continues to adjusting color reproduction.
see this blog post

This all gets very abstract, so I want to share what grounds this for me; my favorite subject: water. This might seem like a divergence from the topic to some, but this is where I start. And, no matter how far out I get, this is the point to which I return.

Water is an excuse to work on formal issues. I need an object from which to abstract; a recognizable shape, and set of patterns to work with so at least some non-artists will accept the odd shapes and repeated patterns that I want to manipulate. But, even before I am thinking of any audience, I choose to work with something that is close to my heart; something for which I have a deep fondness; something in which I have seen both infinite variety and constant repetition: turbulent water.

Water is the matrix. Every wave is different, but the idea of "wave" evokes a broad and universal shape. Each ripple of turbulent water is different, but the idea of moving water is universal enough that a visual language exists which is both specific enough to define water, and full of enough variables to create combinations that outnumber the days in one human's existence.

Sketchbook Tour comes to Atlanta, GA

2011-03-28T06:00:00.007-04:00

The Granite Room

at This link brings you to a nice page to view the Grand Canyon Trip sketchbook
or
search for the book using the ISBN: 978-0615444055

Sketchbook Tour comes to Portland, ME

2011-03-22T05:00:00.001-04:00

March 30 - April 2
at SPACE Gallery

This link brings you to a nice page to view the Grand Canyon Trip sketchbook
or
search for the book using the ISBN: 978-0615444055

obsession and research

2011-03-17T08:52:00.004-04:00

Comments from two different friends have been playing in my mind for the past week.
One comment was a sweeping statement about a "common" trait which artists possess; specifically the trait of obsession and it's positive aspect that fosters focus and determination.
The other comment was that I do not know how to promote myself and tend to discount all of the studying, learning, and research I do on my own.
These comments have me reflecting on the new things I have learned this past year, both as an example of useful obsession and, perhaps, some things that I must consider when promoting my constant research.

Wanting to stitch the panoramic photos from January 2010, I had to learn a couple more Photoshop tools, and was forced to reconcile with the fact that I am far better off shooting entirely in RAW from now on. I obsessed over image quality and adjustments throughout the summer, working closely with Mark Gibson from Maine. We shared knowledge and pushed each others photographic abilities for two months, spending many hours after work in front of computer screens critiquing our images.

As I began to print giclees on watercolor paper last spring, I started to obsess about color quality and accuracy. This opened my eyes to steps in the workflow that I did not know existed. Many late night print experiments, research on the internet, and reading technical manuals that were often written for someone with a better knowledge base than I had at the time, led to a satisfactory work flow (which THIS spring I am revisiting and hoping to fine tune).

This past spring was also when I finally was able to start experimenting with photo polymergravure. 20 plates and who-knows-how-many prints later I had to leave the press for a summer of work. This fall I returned to the process and have advanced to the point where I am considered a fellow printmaker (not a beginner) by other people using this process.

This past December, I used the sketchbook project from Art House Coop as an excuse to actually make a focused sketchbook about the Grand Canyon, then used that sketchbook to learn Adobe InDesign to lay out a book and find a way to get it published.
I used the Grand Canyon trip as an excuse to learn about HDR photography.
The micro contrast adjustments that can be made have given me some ideas about fine tuning the compensation curves for polymer photogravure (a process which I was determined to learn last spring).
AND, the impressions of the Grand Canyon have me obsessed about color accuracy again. I want to preserve the color impression that I had on that trip, not just relying on the shifted colors that a computer screen wants me to see.

I don't have a slick way of ending this blog post. (I'm glad it's only a blog post) Perhaps I have concluded that I'll continue to obsessively research, and that the obsession to do so is a positive trait.

warm day turpentine

2011-03-16T18:12:00.004-04:00

First day that was well above 50 degrees was a perfect excuse to spend a little time outside and start a painting that has had an under-drawing on it for about two years. The complementary painting to this one was finished in June of 2009 and has been waiting for it's twin for too long. (both are on 3/4" wood panel that measures 23 7/8" x 47 7/8")

I debate whether to call these paintings or drawings. I don't care about the category except when someone (for some odd reason) feels the need to make me define them one way or another.

The green stain (which I made from oil paint) will have to dry for a few days. When it is dry enough to be permanent, I'll start woking into the piece with lumber crayon, oil bar, and china marker. At some point, it needs a little bit more paint, but most of the work is done with drawing materials.
---------------------------------------------------------------
here is an update with the painting/drawing almost finished, and sitting next to it's twin

Color Accuracy and Workflow

2011-03-15T17:29:00.006-04:00

(being a better photographer while documenting 2 dimensional art work)

This is the beginning of a focused experiment which aims to improve my own photographic skill set for documenting my work more accurately. ***

I have the artist's proofs of 23 different screenprints.
They have been documented in the past with a Canon EOS 20D, and edited on whichever computer I had at the time. Both lighting conditions while shooting, and the calibration of the monitors while editing were not the same. I will control that in this project with the following experiment...

Phase 1:
Shoot the 23 screenprints in 3 different lighting environments with a Canon EOS 50D.
Lighting environment #1 is outside on a an overcast day.
Lighting environment #2 is inside with a bank of fluorescent lights with bulbs rated 5000K.
Lighting environment #3 is inside with 2 halogen lights on either side of the art work.

Phase 2:
Adjust the while balance from the RAW images on 3 different computer monitors and save each version as a TIFF.
Monitor #1 is a laptop: MacBook Pro 13"
Monitor #2 is a Dell 2009W 20" that I think is a bit on the green side (no matter how much I try to calibrate it)
Monitor #3 is a Dell 30" that is used by many people at a university (so the calibration is questionable)
Compare the three versions, side by side, on each of the 3 different monitors.
This should give me a good baseline to start the next phase of the experiment.

Phase 3:
Using an Epson Stylus Pro 3800 printer, print all 3 versions of an image with standard Adobe sRGB.
See which version is most similar to the original screenprint. That should reveal the best workflow for the photography phase.

Phase 4:
Using the best version from phase 2 & 3,
experiment with different ICC profiles so that the computer, printer, and paper are coordinated for best color output.

*** I've had a good grasp of basic photographic elements since middle school. Exposure, aperture and shutter speed, ISO, composition, lighting, etc.; enough to allow me to take some photos that do a bit more than satisfy just myself. Throughout my career as an artists, I have documented my work with a camera. My first efforts involved waiting for an overcast day the would provide an even light source outside. I set up the tripod, made sure everything was centered, parallel, perpendicular to reduce lens distortion, and shot brackets like crazy to make sure I could have a at least a few good slides for the portfolio. That was an expensive process. It would have been more expensive if I had to pay someone else to do it. Sometimes, when discouraged or frustrated by my own work, I looked to other artists' portfolio slides. Most of the time, the people who they paid as "pro" photographers did not do any better than me. It both encouraged me to keep taking my own pictures, and frustrated me with the thought that I was going to have to invest a lot of money in studio equipment, and time in research. I went the digital route as soon as I could, but feel that DSLR imaging technology has only recently become sophisticated enough to reproduce the subtle color shifts that I want. (note: the technology was probably there a bit earlier, but I could never afford the cutting-edge cameras, and have had to wait until the pro level equipment technology trickled down to the prosumer level equipment).

------------------------------------------------------------------------
Results of Phase #2 (click on image to see it larger) note: paper is Canson Edition Cream
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These were shot outside on an overcast day.
Adjusted with MacBook Pro (left), Dell 2009W (center), Dell 30" not quite sure of model (right)

These were shot inside with a bank of fluorescent lights (bulbs claim to be 5000K)
Adjusted with MacBook Pro (left), Dell 2009W (center), Dell 30" not quite sure of model (right)

These were shot inside under two halogen lights (not floods or spots)
Adjusted with MacBook Pro (left), Dell 2009W (center), Dell 30" not quite sure of model (right)

FDU show March 21 - April 22

2011-03-14T06:00:00.004-04:00

directions to Fairleigh Dickinson University

Gallery is on the main floor of University Hall

Featuring:
Jamie Medeiros
Alison Hall
Darryl Arbesman

Grand Canyon Sketchbook featured on MyArtSpace.com

2011-03-08T02:54:00.002-05:00

www.myartspace.com

on their front page, click on "artists", "galleries", or "images" links to see the artists featured this month.

Here is part of the email that let me know...

"Less than 5% of all artists on myartspace get featured. The speed of that may have seemed nearly like a computer response to posting your work. I can assure you all our featured images are hand selected, mostly as the images come in daily but sometimes art can be featured from past galleries. Or there can be days or weeks of time since the initial display of work. We sometimes miss great work but we try our best to feature the most current, remarkable art across all genres.

All incoming work, (including featured work), can be seen under the filter option by selecting the most recent pull down menu when selecting artists, galleries or images.

We have a variety of ways in which we feature art and artists:

1. Featured artist - our default display when selecting ARTISTS on the home page menu bar, being a featured artist automatically features your galleries.

2. Media window - our media window on the front page displays recently featured art. This list of art rotates weekly and starts in a new place in the list every time you reenter or refresh the site

3. Our weekly featured an opt in weekly newsletter that gets distributed to 45,000+ recipients, gives an in depth look into a select group of artist and their work."

Sketchbook Tour comes to Austin, TX

2011-03-05T06:00:00.002-05:00

just in time for SXSW
at Austin Museum of Art on March 12th

and at 29th St. Ballroom at Spider House on March 13th

this coincides with SXSW

This link brings you to a nice page to view the Grand Canyon Trip sketchbook

or

search for the book using the ISBN: 978-0615444055

A Step Away from Text

2011-02-27T15:13:00.002-05:00

I think that I have always suspected that there is different meaning to images than text. Words. My artistic life is an effort to express that different meaning. This conflicts with many other artists' efforts, who's creative lives are mostly textual. Text feeds the critics. Text feed academics. Text feeds a need for remote discussion. (I differentiate between text as written-blogged-read-performed and those words which are vocalized in face-to-face conversation between individual)

I don't really know where I am going with this (written text). Words cannot describe what Im am after. Perhaps that is it. I am after that which words cannot describe.

Description
"A picture is worth a thousand words"

of an experience out of the ordinary
"Words cannot possibly describe it..."

direct link to the Grand Canyon sketchbook/journal on Amazon.com

2011-02-25T13:07:00.002-05:00

http://www.amazon.com/gp/product/0615444059/ref=cm_rdp_product

This is selling better than I expected. A huge THANK YOU to everyone who bought the book so far.

Dan Grayber interview

2011-02-18T15:38:00.002-05:00

in this link below is in German, but nicely translated to English at the bottom of the page. So, click the link, scroll through the pictures and enjoy the sculpture, then read the interview in English.
http://www.innovationstuntmen.com/?p=1899&sms_ss=facebook&at_xt=4d5ec93b9a23a8b1%2C0

He has a nice website with more sculpture for you to enjoy. This link goes right to the gallery page for all the lovely pictures.
http://www.dangrayber.com/portfolio.htm

Sketchbook Tour starts in New York

2011-02-11T06:00:00.006-05:00

Feb 19 - 27
at the Brooklyn Art Library

This link brings you to a nice page to view the Grand Canyon Trip sketchbook

or

search for the book using the ISBN: 978-0615444055

Morgan's ETSY shop

2011-02-09T17:00:00.002-05:00

feather and beaded earings
http://www.etsy.com/shop/morganalefay

why would you by stuff from the mall when you could get real hand-made, artist-made items for yourself and loved ones?
Check out this shop and support fellow artists.

raising awareness...

2011-02-09T00:53:00.002-05:00

http://www.supthecoast.com/

Grand Canyon sketchbook slide show

2011-02-02T06:52:00.008-05:00

This sketchbook will tour the country with a large group show of sketchbooks in New York, Maine, Texas, Georgia, Washington D.C., Washington, California, Illinois, and Florida.

The title of the sketchbook is "It Must Be...done better (a Grand Canyon Trip)".

It Must Be refers to the existence of that which already exists with or without us; things like the Grand Canyon itself. It is a phrase which also is a recognition that we cannot go some places, or should not go some places, and that is the way it must be. I also believe that we, as humans, have mismanaged natural resources (specifically WATER in this case) and rethinking our rate of use, management techniques, and "rights" to water is something that MUST happen. There are more implications to It Must Be, some of which are too lengthy to list here, and others that you may think of yourself.

done better is directly related to the above paragraph, as well as reflects my own regrets about my personal journey in the Grand Canyon. I had a good time, but there are things that I would do differently/better next time.
(disclaimer: this has nothing to do with anyone else on the trip, only my own approach. We had a wonderful group on this trip, and I'd love to paddle down the Colorado River through the Grand Canyon again with each one of them)

Enjoy the slideshow.
The images are hosted at b-uncut.net.
The tour of the sketchbook is an extention of a sketchbook project through Art House Coop

search for the book using the ISBN: 978-0615444055

and the quest continues...

2011-01-25T18:57:00.008-05:00

The western trip was a great success. The research trip was a good mixture of fun and work, which has yielded the start of several possible directions to take the new material.

Upon emerging from the Grand Canyon on January 2nd, my first priority was to visit the rim of the canyon on the south side and take some panoramic photos, looking over the area I could not see from the two week trip inside the canyon itself, along the Colorado River. It was covered with snow. The light was diffuse in areas, and sharp in others, lending the images to mimick the harsh and beautiful nature of that desert wonder.

Step two, after driving up to Colorado, was to spend time editing all the images from the two-week river trip. Everything from my compact camera is posted in it's own gallery. Most of the images from the DSLR are posted in another gallery. The DSLR images (including the photos from the south rim) are taking quite a long time to edit. Most of the exposures are bracketted and have to be manually adjusted so that the full range of the landscape could be perserved. You an find the finsihed images in this gallery.
http://artandwater.smugmug.com/GrandCanyonDec2010Jan2011
I set up a gallery for everyone in our trip (who had a camera), so please enjoy all the photos.

The next order of business was to finish the sketchbook/journal that I started in the Grand Canyon. I forced myself to put the photos on hold, and spent 10 days completing the drawings. (these images will play here, in a week, as a slide show)
The sketchbook is shipped, and ready for the tour.
A faithful copy of the sketchbook was published as a book that is available through a few channels (most prominent of which is Amazon.com
the ISBN: for the book is 9780615444055

While in the Durango, CO area, I dropped into Open Shutter Gallery and had some great discussions with Bob about the Curtis gravure prints they have. He seemed very interested in alternative processes. The gallery opened a community show that week called "Entropy". There were some very litereal translations and some very loose ones. For a community show, it had more than a few good photos hanging on the wall. I'm impressed that Durango has so many aspiring photographers in the area.

The Spring semester, family and friends, and the studio space needed to complete this work were caling me back east by January 17th. I had time for a one-day stop in Denver, where I dropped into the studio of Mark Lunning of Open Press Ltd.. We discussed photo polymergravure, and the tremendous potential of this technique. Speaking to a master printer was a rare treat. After a visit to the Denver Art Museum I had an appointment with Jon Lybrook of Intaglio Editions to review my photo polymergravure images and process. He was shooting a new plate, and after talking about my work, seeing his portfolio, and discussing some troubleshooting, I watched his process. In many ways I am encouraged that I am mostly on the right track. A few minor adjustments should make a tremendous difference.

The only bad news (other than a very difficult journey back east) is that I have lost the only two proofs of this image...

This image is a revelatory image for my own polymergravure process. It was scheduled to be editioned next month. Unfortunately, if I do not find the two proofs, I have to assume that it is in the wrong hands and therefore cannot make a fully edition, with proper documentation. I will have to change the image, shoot a new plate, and run with that version. Hopefully, it's just sitting at one of the places I visited and they recognize the two proofs mixed in with their other work and get them back to me.

2011-01-12T14:20:00.002-05:00

Water Sculpture from Shinichi Maruyama on Vimeo.

2011-01-09T07:39:00.004-05:00

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Happy New Year

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Merry Christmas

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