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We saw yet another fabulous exhibition at the Seattle Art Museum, more on that later. The Master, Picasso that is, just shined.
I got him to sit very still for his portrait. Actually, it's amazing how good an image you can get with a digital point and shoot, hand held, with no flash, cropped and enhanced in Photoshop.
Blue Man Group really delivers!
What you see is what you get, that is, when you mount a telephoto lens on your SLR, point it out the window on a rainy day, all in fun, and the camera auto focuses on the window pane and not some feature in the distance. The results look good to me.
As I like to say, you don't see that every day.
I decided that my approach to art and creativity has become way too tight, careful, and constricted. Above is my latest exploration into all that is spontaneous, fun, and unrestricted. It felt good. My plan is to leave this canvas as is, that is, it will not be covered with gesso, only to be reworked later, as I often may be inclined to do. I prefer to go with the flow and keep this work as a reminder of a journey that is carefree, loose, and fun, perhaps, more how life should be.
As I mentioned in a previous post, with digital SLRs being substantially more complicated to operate as opposed to the film SLRs of the past, such as the Nikon F2 that I cut my teeth on, it is important to keep current with the camera, staying familiar with, at least, the rudiments of it's capabilities. Once you arrive at a photo shoot, it's a little late to try to bone up on the fine workings of the camera, when you should be snapping into action.
I took advantage of this autumn rainy day to pull out my trusty old 60mm AF Micro Nikkor, a lens that is equally adept at macro work as it is with so called "normal" shooting, as, at 60mm, it approximates how the human eye would normally see. Well, the fun has just started, and I post one example above, a shot staged with very little set up.
With digitals, the results are immediate, no need to load the film and little need to bracket any shots through the wonder of Adobe Photoshop. There is no waiting for viewing, processing, or otherwise. Of course, there are things you can do with film that you either can't do with digital photography, or are limited, such as extreme F stop work, at one end of the spectrum or the other. This kind of depth of field manipulation seems compromised. Also, film is its own medium, with warm, specific results, that really can't be duplicated digitally. However, after experiencing digital fun, there is no going back to the past that can be anticipated. There is nothing like shooting two hundred photos in a row, without pausing to reload. You can't do that with film.
A morning spent oil painting in the studio yields equal measures of satisfaction and frustration, like two old friends come to visit.
What you see is what you get, that is, when you mount a telephoto lens on your SLR, point it out the window on a rainy day, all in fun, and the camera auto focuses on the window pane and not some feature in the distance. The results look good to me. 
Among other observations, I have a new found appreciation of the work of Robert Motherwell.
I decided that my approach to art and creativity has become way too tight, careful, and constricted. Above is my latest exploration into all that is spontaneous, fun, and unrestricted. It felt good. My plan is to leave this canvas as is, that is, it will not be covered with gesso, only to be reworked later, as I often may be inclined to do. I prefer to go with the flow and keep this work as a reminder of a journey that is carefree, loose, and fun, perhaps, more how life should be.
As I mentioned in a previous post, with digital SLRs being substantially more complicated to operate as opposed to the film SLRs of the past, such as the Nikon F2 that I cut my teeth on, it is important to keep current with the camera, staying familiar with, at least, the rudiments of it's capabilities. Once you arrive at a photo shoot, it's a little late to try to bone up on the fine workings of the camera, when you should be snapping into action.
A morning spent oil painting in the studio yields equal measures of satisfaction and frustration, like two old friends come to visit.
