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by littleartySomething a little quirky from Kiwi Land. This was a painting of 4 kiwi birds (plus 1 in belly) that I did about 2 years ago for a charity auction in New Zealand. Enjoy!
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Our Delphinium petals fell into a puddle outside and I just thought they looked so beautiful and serene sitting there…
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This sunset photograph was taken in Donsol, Philippines in January 2007, and shows two fishermen going home after a day of fishing. I myself had had an unsuccessful day of trying to spot whale sharks, but this sunset made the whole day worthwhile.
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/ . / MORE DESIGNS / . / / / / / / / /
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THREE THOUSAND FIVE HUNDRED VIEWS ~ WOW ~ THANK YOU ALL Still the best of friends Nikon F4 20mm lens Original Kodak infra-red negative scanned with Nikon CoolScan Holywood County Down, Northern Ireland
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Featured on the homepage… thanks RedBubble, and to all those who commented on this and added to their favourites! FOUR THOUSAND VIEWS ~ WOW ~ THANK YOU It has done so well, and so well admired by so many; I reckon it is one of my favourite and very best photographic captures ! Horse Island / Strangford Lough / Irish Sea / County Down / Northern Ireland Captured on Nikon D200 with Nikkor 20mm lens F11 1/125th sec / Sepia toning added with Photoshop CS Mid afternoon September Portaferry / County Down / Northern Ireland Horse Island is a National Trust property on Strangford Lough which is an Area of Outstanding Natural Beauty Named by the Vikings as Strong Fjiord ~ Strangford Lough is a spectacular sea lough, studded with islands and boasting mile upon mile of hidden coves, sandy beaches, rocky outcrops and sheltered inlets. With its picturesque villages, rare wildlife and breathtaking views of the Mourne mountains, the lough is an Area of Outstanding Natural Beauty and a hugely popular attraction for visitors from all over the world. People have been living around Strangford Lough for 9,000 years and there are ancient remains from prehistoric times. The Lough has been used by people for business and pleasure over the centuries.
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“The Melbourne Silver Mine Inc. is a non-profit incorporated association of enthusiastic analogue photographers based in Melbourne Australia. The group has been formed to achieve the following purposes: To encourage and promote the continued use, unique features and appreciation of traditional photographic techniques and equipment To assist in the exchange of ideas and enable collaboration on projects which promote the continued use of traditional photography to the wider community. To support the use of contemporary technologies in order to achieve these purposes. Although we primarily exist to promote traditional photo technologies we embrace modern and future techniques. Our members are very technologically aware and seek to demonstrate how traditional technologies can work with digital photography and other modern photographic techniques to achieve a new art form, drawing the best from both old and new methods. The Melbourne Silver Mine has formed over the past 18 months after a small group of like minded photographers formed on the photo sharing website flickr.com. The group continues to grow and inspire more photographers to return to film photography or to take it up for the first time. We share ideas, techniques and equipment. This enthusiasm gave rise to our inaugural exhibition of analogue photography, Unsensored07, which was held at Kerala Gallery in Northcote, Melbourne in November 2007. 12 photographers exhibited 24 works. In 2008, Unsensored08 is double in size with 30 photographers exhibiting 46 works at the Collingwood Gallery from 8th to 20th August 2008. We have plans for events, publications and collaborative photographic projects that highlight the group’s objectives. Thanks for your interest and participation, you can become a part of the Melbourne Silver Mine by joining us as a member or sponsoring our projects.” http://silvermine.org.au All profits of the sales of this tee go directly to the Melbourne Silver Mine.
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Shot with a Nikkormat 35mm body and Nikon 55mm macro lens on Kodak TMax 100 ISO, f22 8 secs. Printed on Ilford Multigrade and scanned. Toning applied in post processing. Other images in the series: / Very Still Life #2 / Very Still Life #3
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acrylic on canvas
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Acrylic, Graphite, Oil 2008
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Montage: / here’s what you need!
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inspired by and an homage to Shaun Tan The Red Tree Lothian Books 2001 my absolute favourite book in the whole wide world!!! Acrylic and mixed media on canvas / September 2008 / 18” (48cm) square / Original Painting Sold
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A Cinema 4D render and some postwork to recreate the antique look.
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disconnected connection limited edition of 25,numbered and signed / Hahnemuehle Bamboo rag art paper 60×80cms @ / $390.- including postage / please contact me directly / jess.tremp@gmail.com other limited edition prints here
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Original graphic was derived from the MONO Octo Skateboard Deck Series initiated in the Fall of 2008. The Octopus adorns both canvas and skateboard as well as these tees. www.ponshopstudio.com
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These birds have such amazing expressions. I just want to smile when I see their funny faces. And thesight of their long, skinny legs, racing across the terrain remind me of my son trying to escape a haircut. Acrylic paint on canvas textured acrylic paper. 16 inchesX12. Framed prints or canvas available at bigemptywall.co.uk
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From the article “Images that Intrigue” by Peter Skinner www.aftercapture.com A superb example of a campaign eliciting / that emotional response is one of / Dean’s most recent success stories—images / for an ongoing series, “Fabricate,” for / couture designers MXM Couture (www. / mxmcouture.com). Significantly, the initial / two images in the “Fabricate” campaign / claimed first and second place in / the latest Commercial/Advertising Photographer / of the Year International Aper-ture Awards. In the only other competition / Dean has entered—as a student—he / claimed a gold and silver distinction and / a runner-up award for prints in the annual / Australian Professional Photographers / Association awards. / “ ‘Fabricate’ is a collaboration of / some of the best stylists and production / people that Australia has to offer / and I feel it definitely shows. There will / be five images in the series and the first / two took months to produce so there are / still three more to complete. It’s a really / exciting campaign,” says Dean. / “Fabricate,” as Dean explains, has a / double meaning and is an exploration / into conceptualization; its execution / is definitely a mental exercise. “ ‘Fabricate’ / refers both to the subject of fashion / photography, the clothes, and more / importantly to the images’ fabrication—how they are created in the sense that / they are highly stylized pre- and postproduction / collages,” he says. / Each image is designed and created / with the intention of arousing intense curiosity / and examination into not only its / finality but also how it was made and its / underlying theme. “The images turn the / exhibition of fashion through photography / back on itself by exposing the process / of exhibition itself—exhibiting the / exhibit, if you will,” says Dean. While this / is a classic case of a picture being worth a / thousand words, Dean points out that the / multi-layered images allow viewers to analyze / the process of digital photography itself, / which incorporates surreally collaged / objects or has perfectly manicured and / poised models caught in mid-jump. / “The series is united by a sense of volatility,” / Dean says. “Subjects are frozen within / turbulent scenes. This chaos, depicted / through flapping wings, flowing dresses / and crashing objects, is meant to reflect / the flippant, fleeting and unstable nature / of the fashion industry. And yet within this / chaos each image captures an ephemeral / moment of beauty, allowing the models to / maintain their dominance—to which the / audience is unwittingly subjected.” Scrutinize / the superb images and you will see / exactly what he means. / As with all complex and multi-faceted / campaigns, the genesis of “Fabricate” has / been long and demanding. Several months / were devoted to drafting the original concepts, / set building, hair and costume design. / Each image is multi-layered and the / set design was a combination of over 20 / different elements. All backgrounds for / the series’ images were shot in an old museum, / a location that provided ideal elements / such as walls, floors and windows. / A major technical challenge was ensuring / consistency of lighting—its quality, intensity / and direction. A Sydney retouching / company, Electric Art (www.electricart. / com.au), was hired for conformity maintenance— / to ensure the same look and feel / was infused into each image, / With two “Fabricate” images under / his belt, Dean is now working on the remaining / three but no specifics have been / finalized—although the models have / been selected and some shooting on various / elements has been completed. Don’t / be surprised, however, if themes such as / exorcism, dead swans and models in dark / or macabre locations are featured.
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