right under my nose

solutions, that is.
I have often used the excuse of "I'm not a photographer, I am a painter" for the poor quality of my jpegs of my paintings and yet, simple solutions were not so far off, given I'd slow down long enough to listen and think a few things through.

First I'll show an example of a three paneled, twelve foot long painting, depicting cypress with gold leaf overlay.

This would be an example of my modus operandi, or me being too lazy to take the time to a) focus the camera, b) figure out some proper lighting and c) being in a rush plus lacking space or a designated spot at the studio. (sorry, that's three things all smushed into "c".)
Fact of the matter is, most working art studios are limited on space and one does what one can.

Yes, I know that dropping this image into photoshop is an option and I use it frequently, but if time and care are taken at the front end of photography, the tinkering is cut down, dare I say sometimes eliminated if the correct methods are utilized up front. Plus, it goes against my instincts to take a photo and then doctor it so much digitally, that I must ask myself, is this really what I 'm seeing when I look at my painting?

Moving right along:

The second example is the same three paneled painting, the photo taken in the same area of the studio, utilizing some very simple solutions.

of course I am aware that this is not a professional studio shot, of which I don't have the time or pocketbook. Most working artists don't, so the most important thing was to use the best gadgets, help and advice to improve what I could, and spend as little money as possible. 

The hot spot of light, in the top middle or so of the painting is indicative of the nature of the gold leaf. Unfortunate as it is, what brings luster to the painting is also extremely difficult to photograph. I've had the metal leaf paintings photographed by professionals, and alas, there doesn't seem to be a magic bullet to correct this problem. So, I write it off as another beautiful problem with taking images of the metal.

So, circling back round to the photo session this week, to attempt to produce a usable image, with out having to spend or haul large paintings around to photo studios,  I present exhibit A:

I bought two of these, super simple to use lights. they've got a switch on the back that lets me switch from bright to super bright and when pointed toward the ceiling, the light bounces off and does a lovely job illuminating the area in which the subject resides, without being pointed directly at said subject. I also hung an additional white panel directly behind the painting as well as made sure that the image was shot during day light hours to utilize any naturally occurring light available.

Of course, it would just be plain wrong not to mention that the improved photo was taken by a friend with a " real" camera attached to an actual tripod, but since my photography skills are laughable, I'm not going to start writing anything about aperture or shutter speed (is that the same thing?)to name two. 

I will stick with what I know:

I bought two bright lights and took a better picture.

Yay for me.

(and good thing I have friends with nice cameras and talent)

Productivity

Surges of productivity are something I relish. I've never had a hard time with it- the productivity I mean. If anything, I have to remind myself to pull away from the easel, and the studio to get back to other necessities. Kids, house, weed pulling, grocery shopping. The daily ephemera.

J.R.R. Tolkein wrote: "that shimmer of suggestion that never becomes clear sight, but always hints at something deeper, further on."

His suggestion of creating something more that what we see intrigues me. I take the message as an impressionistic artist might: my vision.  The image I strive for in my painted canvas is not one of realism. Reality is the reason I have a camera, or I look to others photography for that image.
It's the non reality I want.

It's more fun there anyway.

My Art

As promised, more art....

My Art....
I thought I'd start a new regular item on my blog. I've not updated my regular website, katesalenfriend.com for quite some time, essentially because it's not set up for maintenance by me. Since it's complicated, I've taken to starting this blog. Well, four or five years go by and blam!, I haven't posted much new art and I'm mostly posting a whole lot of blabber.

So, here goes. This'll be a regular feature, since I do, uh, paint every day. So, you can assume that I am also producing finished work as well.

Once posted, this category will land over there on the right column under the "My Art" header. Hope you'll come and visit!

tools of the trade

I enjoy visiting another artists work space, whether here at the studio where there are 4 others or out and about in Napa, Sonoma or San Francisco.

When we have shows here at the studio, many visitors either peer into my mysterious cauldrons of varnish, poke at the many paint brushes or ask questions about my tools, some dull and obvious, others slightly more exotic.

The end justifies the means.

I'm a scissor freak. I use scissors of course, but the freak part comes because I need to always have a pair available when I want them, where I want them. So, I have many scissors...everywhere. And, when I see a particularly good deal on them, I buy in multiples, about half a gross at a time. Cause that's what scissor freaks do. Duh.

My rolling cart.
I'm an advocate of the big purse/small purse rule. The bigger it is, the more you put in it and carry around. Not necessarily stuff you need.
Rolling carts are the same. Do I need to have at hand every darn little thing in my studio supply arsenal? Of course not. But the daily supplies? Hell, yes. So I choose a compact albeit simple rolling cart. Enough shelves for efficiency and options, sides to drive in a screw or two to hang an odd tool and adequate height as to not have to lean over to mix paint, or just work. I'm not a tall person by any means, but I've had tables that I've leaned over and they've quickly been shown the door.
The second item in the photo, although in the foreground and not given the credit it so deserves, is my chef's mat. Life at the studio changed for me once my chefs mat was in place. These pricey buggers can get up in the hundred dollar range, but of course I found mine at a home decor discount store and scored this 2x3' number for forty. I spend much of my work time in the studio on my feet and this is a life (feet/back) saver.

Paint tube storage/organizer thingy. Oh, how I love good organization.Gone are the days of rooting through a drawer for a particular paint color or trying to figure out if a particular color needs to be replenished. This little shelving number was free, ehem, found on the sidewalk and is truly one of the best tools in my studio. I put a dot of paint on the white cap of the paint tube so that at a glance I know what colors I am running low on. I blend my own colors from a basic palette that I don't often stray, so to me it's imperative that I always have these basics on hand. It makes me happy. And what's better than a happy artist? Nothing.

And whilst we're on the subject of paint tubes, this little gem is how I squeeze out 200ml's of paint at a time. I create a fair amount of art that is large format and for large format work, large quantities of paint are needed, not little dime size squirts on the palette, but rather large heaps, akin to a fair sized potato. Since my hands take a beating using many tools and I've subjected myself to hand surgery, I look for and use tools that will assist me in the avoidance of strain. An this little squeezie-outie does just that.
I've really got my technical terminology down.

And lastly, from top to bottom, coated copper wire, 5/8" wood screws and d-rings. The un-sung heroes of art for the wall, they hold it all together in the back of your painting and make it all right with the world, or at least your wall. Yes, fairly boring stuff, but to not finish out a painting with the correct hanging hardware is just stupid. Oh, and lazy. If and artist wants to sell his/her hanging wall art (I'm only addressing paintings as that's what I am, a painter) they should darn well take the extra step and make that art hanging ready. I can't tell you how many artists I know that don't do this and think their painting is finished once that signature goes on. Geez. When someone falls in love with your painting and wants it in their life, do they really want to take it home and hunt down hanging hardware? uh, no.

Before I launch into a vein popping diatribe about sloth and the artist, I'll leave you fair reader with the aforementioned list of favorite studio tools. Use wisely.
Any favorite tools of your trade?