SaltSee_2019_425

Visit 7 artist’s studios in Cushing, Maine August 4th.

Pick up a map at the Langlais Sculpture Preserve.

Pam Cabanas

John Paul Caponigro

Bernard Langlais

Jody Payne

David Sears

David Vickery

Plus see Vick Goldstein’s studio.

Read more about Cushing artist on The Free Press.

Revelation XXXIX

You can view my work in 4 exhibitions in Rhode Island and Maine.

Find details about each exhibition here.

Cushing, Maine

Exhibit – New Work | Open Studio – Aug 3 – 4

 

Portland, Maine

Exhibit – Melt Down – Aug 2 – Sep 21

Exhibit – Barbara Goodbody Collection – June 27 – Oct 30

East Greenwich, Rhode Island

Exhibit – The Spell Of The Sensuous – July 25 – Sep 5

Sign up for my newsletter for alerts on new exhibits.

01_Tenneson_425 Illumination XXXV

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Opening & Artists Talk

July 25th

Artist Talk 3 PM
Opening Reception 6-8 pm

RSVP Here

Location

YJ Contemporary Fine Art Gallery
42 Ladd St. STE 107
East Greenwich, RI 02818

Get More Information Here

The Spell of the Sensuous: The Fluid Nature of Perception, featuring the photography of John Paul Caponigro and Joyce Tenneson, opens at YJ Contemporary Fine Art on Thursday, July 25th.  The exhibition celebrates the works of two of the nation’s foremost photographers known for their ability to create images that are poetic, evocative and mystical.   The exhibition will present iconic examples of Joyce Tenneson’s portfolio of work- including images from her figurative portraiture series, her “Intimacy” series, and images featured in her 2012 book “Trees and the Alchemy of Light”– alongside works by fine art environmental photographer John Paul Caponigro – including images from his Alignment, Exhalation, and Illumination series. A review of the exhibition is featured in the July/August issue of Art New England magazine.

The artists will give a gallery talk on Thursday, July 25th at 3pm to discuss their creative process and photographic style.  The talk is free and open to the public but requires advance registration. (Register here)  An opening reception will follow from 6-8pm that evening.

The exhibition at YJ Contemporary Fine Art runs through September 5th.

Get More Information Here

Marc Silber (Advancing Your Photography) explores Edward Weston’s world through both historic film and new video. “Get a rare glimpse of an artist at work and how he visualized his photographs, loved nature, didn’t follow the rules, and how he used cameras to create his unique images.”

View more about the Westons here.

View more photographers videos here.

“A forest is much more than what you see… Underground there is this other world — a world of infinite biological pathways that connect trees and allow them to communicate and allow the forest to behave as though it’s a single organism. It might remind you of a sort of intelligence.” says ecologist Suzanne Simard. Her 30 years of research in Canadian forests have led to an astounding discovery — trees talk, often and over vast distances. Learn more about the harmonious yet complicated social lives of trees and prepare to see the natural world with new eyes.

Find more great resources on trees at Brain Pickings.

Read about the must-read book The Hidden Life Of Trees.

Constellation_XXVI_Shadows

One of the keys to making a great print is great shadow detail.

Shadow detail is something to be mindful of during exposure, processing, and printing. Curiously, even if you see shadow detail in your file on a calibrated monitor you may not see all of the details in your print. What can you do about this? Many things!

First Check Your Color Management

Before you start editing your files based on your proofs, check your color management system.

Recalibrate Your Monitor

Make sure you’ve calibrated your monitor with hardware. Set a brightness value of 90-100 lux, instead of using the default brightness target of 120 lux. If you monitor is too bright, your prints will look dark overall, especially in your shadows.

Read more on Profiling Your Monitor here.

Give Your Prints Enough Time To Dry

Inkjet prints come out of the printer almost dry, but not quite fully dry. When they’re fully dry, they’ll appear slightly lighter, especially in the shadows where there’s a lot of ink. So before you evaluate prints critically, give them a few minutes to dry. This affects absorbent matte surfaces even more than glossy surfaces.

Find my resource on Outgassing here.

Look At Your Prints In Good Light

Look at your prints in good light. You need the right amount of light (a CRI of 90 or higher), you need the right color temperature light (5000K is the standard but many viewers prefer the warmer 3600K), and it helps to use full-spectrum light (Many manufacturers now make full spectrum bulbs.)

Read more on Controlling Your Environment here.

MediaType_P800

Media Type sets the amount of ink that's used.

Set Your Media Type Correctly

Your printer driver will allow you to set your media type, which controls ink the amount of ink that is sprayed on your paper. Use too much ink and you’ll lose shadow detail. Use too little and your blacks and midtones will appear weak. If you’re using a paper not made by the manufacturer, choose the nearest media type and then adjust its settings with the printer driver’s advanced utilities. (You’ll find this under Advanced Media Control with Epson printers.)

Find my resource on Ink Limit here.

testfile_shadows

Print test patches to determine when maximum black is achieved and when separation is lost.

Print A Target To Determine How Much To Lighten Shadows

Before you adjust your files for printing precisely determine how much you need to lighten your deep shadows by printing a target. While they vary a little, most media settings lose shadow detail around a value of 96% on a grayscale. If you print patches of values between 100% and 90% you’ll see exactly where you lose shadow detail. Printed results will vary slightly with each different media setting, so you’ll need to adjust files slightly differently for different media.

You can download my targets here.

Next Adjust Your File


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