Use Adobe InDesign® to create compliant PDF files by using the Blurb PDF/X-3 Export Preset and the Blurb Templates.
Learn more in my online Bookmaking resources.
Learn more in my Professional Portfolio workshop.
Sign a contract with anyone who exhibits your artwork.
Putting verbal agreements in writing produces something tangible that all parties can refer to if memory fails – and it will. You and your representatives need a contract to work professionally together. If someone is unwilling to put something in writing, they’re not likely to honor it. Contracts are not about taking people to court; when they work best they keep you out of court.
Below is the contract my lawyer wrote for me. He’s graciously agreed to let me share it with you.
Change this basic contract to reflect the specific nature of your agreement with the agents or agencies who represent your work.
Don’t change clause 2. This key clause changes the nature of the consignment agreement. If the entity (individual or business) doesn’t reimburse you for sales or return your work you’ll be able to involve local law enforcement agents more easily. I’ve only had to do this once. So far, I’ve always been paid for sales of my work and I’ve always had my artwork returned. Many artist’s can’t say the same.
Do include a termination clause. Contracts should be revisited periodically – I recommend annually – to confirm that the nature of a relationship has remained the same. If it has evolved, change the contract to reflect that evolution.
Find more business resources for artists here.
Read more to see the contract I use … Read More
The world of ebooks is maturing rapidly.
Recently an iPad App entitled Ansel Adams was released. It contains …
– 40 images (which can be viewed either with or without commentary)
– 3 videos (one includes Adams playing piano)
– 1 interview (Playboy magazine)
– letters (with other luminaries like Steiglitz, O’Keefe, Weston, and others)
– postcards (send your own virtual postcard from the app)
– weblinks
– chronology and bibliography.
The content reveals a great deal about the artist’s art and life.
This ebook/app suggests many of the kinds of content and form factors that will inevitably reshape the very nature of the book, when it is delivered electronically.
Find the ebook/app here.
Learn more about Ansel Adams here.
Find 20 quotes by Ansel Adams below … Read More
Hagedorn Foundation Gallery presents, “People & Nature”
Photographed at the iconic Stone Mountain, Santiago Vanegas produces a body of work unlike anything he’s done before over twelve year long career. In this series, he explores the intriguing and sometimes odd relationship between people & nature. His photography explores the sharp lines and inorganic colors of manufactured objects conflicting with the natural landscape. The people in his images, although very “normal”, appear outlandishly misplaced. Through his vision, we witness a reality that in nothing short of surreal. Santiago’s People & Nature asks the viewer how and why we relate to nature at a time when our planet is increasingly begging for mercy from our environmental irresponsibility.
iPhone tables? Seriously?
How soon will devices like these be mounted to museum and gallery walls?
Find out more about TableConnect here.
Go beyond the basics of BookSmart. This intermediate webinar explores several design ideas you can use in your books. Part inspiration, part instruction, you’ll get some great tips straight from Blurb’s designers.
Learn more in my online Bookmaking resources.
Learn more in my Fine Art Digital Printing Workshops.
Learn how to: create your book; work with photos, text, and layouts; upload your book; and more.
It’s surprisingly easy to do!
Learn more in my online Bookmaking resources.
Learn more in my Fine Art Digital Printing Workshops.
“There are as many forms of memory as there are ways of perceiving, and every one of them is worth mining for inspiration.” – Twyla Tharp – The Creative Habit
Still images suggest motion, rather than reproducing it as moving pictures do. Images not only suggest the relative motions of their subjects, they also imply motions of their own. Almost all compositions are filled with lines of force, both visible and invisible, that direct the eye. Find them. And emphasize them.
How? Gesture. Before making an exposure, make the gesture of your composition with your body. Move your body, echoing the composition.
Be bold. Draw in the air at arm’s length with your shoulders and elbows. Make broad sweeping gestures. Don’t draw with one finger holding the rest of your body still. Focus on the essentials of the composition rather than detail and texture. Include texture in your gestures only if doing so helps you understand the rhythmic structure of an image.
While you are making images, research this moving dimension. Doing this will make you aware of and amplify the kinesthetic understanding your body already has of your subjects. Gesture can enliven any composition, making it seem more expressive and life-like. Gesture and your images will be stronger for it.
Find more resources on Creativity here.
Learn more in my digital photography workshops.
“Seeing with your skin means to use more than just your eyes to observe and listen to others. You can sense with deeper perception and consciousness. Use all of you. The more you can feel, the better you will be at determining how and when to react …” – Joseph Cardillo – Be Like Water
We tap only a small portion of our intelligence. And we have many types of intelligence; visual, verbal, emotional, kinesthetic, etc. Our bodies have vast intelligence. Tap it. And make your work stronger.
Our five senses are doorways to worlds of wonder. Those who are missing one sense usually developed heightened awareness in the others. You can do the same by closing your eyes.
Close your eyes. Do this for several minutes. What do you hear, feel, smell, taste?
When you open your eyes, make photographs with your other senses in mind. While you are doing this, put your habitual visual routines on hold. Simply experience making images from other perspectives.
Don’t evaluate the images you make in these sessions as you would others. Look for moments that are strongly felt. Successful images of this type are the ones that move you most, not the ones that have the most refined compositions. In them, you’ll find new ways of relating to any subject and the seeds of many ideas that may bear fruit in the near future, if properly tended.
Later, you can continue making exposures with these previous successes in mind.
The strongest images suggest dimensions beyond the visual. When you look at them, you can imagine smelling Monet’s gardens, tasting a Zubaran still life, feeling the chill of Friedrich’s seascapes, or even hearing Kandinsky’s abstractions.
Your work will be stronger if it becomes equally suggestive.
Find more resources on Creativity here.
Learn more in my digital photography workshops.
It’s easy to lose sight of the forest for the trees.
We’re capable of seeing a lot of detail. Sometimes detail is distracting. Eliminating it can help us see fundamentals more clearly.
Here’s a quick way to make sure the foundations of your compositions are strong.
1 Frame an image.
2 Defocus the camera. Defocus enough to lose sight
of the details (line and texture) but not the broader com- position (light and dark, color, shape).
3 Refine the composition. Move the camera or zoom.
4 Refocus.
5 Expose.
Images that contain well-rendered detail without a solid compositional structure often appear cluttered and confusing. Develop the habit of slowing down and taking the time to make sure your compositions are as strong as they can be.
Find more online resources here.
Learn more in my digital photography workshops.
