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Their white appearance in winter makes the Arctic fox an interesting subject for wildlife photographers. In this article, I want to share with you my experience. Who does not dream about taking photos of a white fox in a snowy landscape? However, an encounter during summer is also something that shouldn’t be forgotten!

A couple of years ago, I was lucky enough to encounter an Arctic fox during the Arctic summer in Scandinavia. I was hiking through the mountains when golden plovers started to call and, all of a sudden, I spotted a strange animal – brown/grey fur and rather small size.

Is the digital art vs. photography line moving and isn’t it time the shows updated their categories?  I do heavily digitally modified photography.  Recently I was faced with this choice:

Digital art - Two-dimensional work created by the artist using computer technologies. May include scanned images, from the artist or other sources that have been non-trivially modified through the use of computer programs.

Photography - Two-dimensional work created by the artist that includes digital and film photography that has not been manipulated to achieve results beyond what could be produced in a traditional dark room. Hand-colored photography and emulsion transfers are accepted in this category. 

I applied in digital art and the show disagreed.  On one of our emails back and forth the show person put forth this description – “ I personally feel that you should enter under photography since your work takes a photograph and enhances it through digital means but does not totally create a new image from the photograph.  I see the digital category as taking parts and pieces from different sources and creating something new with them, or creating an image using only digital programs from scratch.”  What a wonderful clear description that puts me into photography which I ultimately applied in.

When I first started applying to shows, digital photography was brand new and most shows didn’t really recognize it.  In fact, to a lot of them, digital was a bad word.  There was certainly no digital art category.  Photographers who heavily manipulated were placed into categories like print making or lumped in with photographers

Then shows started adding a digital art category which in the vast majority of shows looks like this – “Any original work for which the original image, or the manipulation of other source material, was executed by the artist using a computer.  Work in this category must be in limited editions, signed and numbered on archival quality materials.  Traditional photographs taken with digital media should apply in the photography category.”  In my opinion this puts me in digital art, which I usually apply in because I am manipulating source material with a computer.  But that word “traditional” can go either way so I am always questioning if it is the right category for me.

At that time (8 or 9 years ago) I don’t know of anybody who was doing pure digital art not involving photography of any kind.  But – the tools are better now, art that is being created today with computers and no photographs at all is very impressive.  And I believe that most photographers, even if their images look completely unmodified, are making use of techniques that could not be done in the darkroom. 

The line is moving and I think shows need to take a good look at their categories and make that division more distinct.

Tell me what you think that description should be.

Paragon is changing its rules on limited editions of photographs.  Paragon’s website now states:

“Each image must be signed and numbered with editions being inclusive of all sizes and not to exceed 250 prints in the edition.”

On Zapp, you can still find their old rule under their Greater Charlotte Festival, where no mention is made of limited editions.  For their Sarasota Festival, they state a less onerous version of the new rule: “All images are to be editioned with editions of each image not to exceed 250.”  But on their website, all listings have the new wording I quoted above.

It appears that the website version of their new rule is what they intend to use for all festivals, and they just haven’t updated all of their Zapp listings yet to match that rule.  The version of the rule listed on Zapp for the Sarasota Festival was probably an in-between version in the evolution toward the new rule.

Does anybody use photo wall guides to show prospective clients what a photo would look on the wall?

I found this site for wall guides but her designs are just too 'pretty' and conventional. The problem is that I couldn't find anything else out there.

What do other folks use?

tnx!

There are only 5 days left for my Kickstarter project to reach its pledge goal: http://kck.st/UzXeft

Some of you may have seen my blog post about it, others may have heard about it on the Art Fair Radio podcast I participated in last week.  If not, here it is, and its down to the wire!!!

I have 5 days for my project to reach its pledge goal, or I don't receive the funding for the project.  I am so excited to go on this trip to Australia and create some great new work there and this project is going to help me in a BIG way.  I will be able to do a lot more traveling while in Australia and get to some amazing places!!!

Check out the project and please share with your friends and networks (facebook/twitter): http://kck.st/UzXeft

Thank you!!!

If you don't know, Kickstarter is a website that helps fund creative and innovative projects through crowd funding.  I am working with Kickstarter to raise funds for my next photographic adventure, this time to Australia.  I will only receive the funds if my project meets its pledge goal by Oct. 29.  If the project does not reach the goal, I receive nothing.  The best part is that no one is "donating" anything to me, Kickstarter requires all projects to return something tangible to the investors in the project.  In terms of my project, investors have the choice of purchasing a photograph from either my previous work, or the work I will shoot in Australia.

I think this is a great way to raise funds for arts projects and even exhibitions.  Its also a great source of promotion for your artwork.  It can take away the entire notion of "well, if I only had the money to..." It also exposes your work to a new audience!

You can check out my project here: http://www.kickstarter.com/projects/1986082413/kite-aerial-photography-in-australia

I encourage everyone to look at the rest of the site and also, since we are all creative people here, keep it in mind for your own future projects.  So far my experiences with them have been excellent!

I will update with its progress.

I just would like to say thank you to everyone who supported my Kickstarter project: http://kck.st/UzXeft either by pledging, sharing the link or simply wishing me well.

My project ends tomorrow, Monday 10/29 at 3pm EDT and it reached its pledge goal tonight!

Thank you all very much for your support, I have worked extremely hard on this, and still have even more work ahead of me now.  I am so excited for my trip and the new work that I will now be able to produce thanks to everyones support.

Special thanks to Connie for having this site and also for inviting me to be a part of Art Fair Radio.

The project will be open to pledges for a few more hours and will be posted up on the Kickstarter site permanently here: http://kck.st/UzXeft

Thank you very much,

Evan

Just when you think you've seen every photograph you ever need to see at an art fair someone comes along and grabs your heart with the strength of their imagery.

For Chris Dahlquist learning to use a camera and the darkroom came at the same time she learned to ride a bicycle. Her amazing photographs follow in the tradition of the "pictorialists", early photographers who were interested in "creating" an image rather than simply recording it.  At a glance, you may think the images are from an old archive. Instead, they are the musings of an contemporary explorer of the nation's highways and open spaces.

Just as the  earliest practitioners of daguerreotype and tintype, she treats each metal  plate by hand, preparing it to receive a photograph. She  capitalizes on the smooth surface of steel, a finely textured under  painting, and the translucent qualities of digital pigments to create  each luminous piece.

Disillusioned by a life as a commercial photographer and ready to leave that life behind she began again,

I returned to the start, the root of the discipline; I went back to the days of photographer as experimenter, inventor, and mad scientist. I investigated the line between science and creativity, process and concept, historic materials and contemporary technology. The artwork I have created through this exploration has been varied, but the common theme remains - experimenting with modern process while carefully studying and honoring historic techniques.

Learn more about Chris and her work:

ArtFairCalendar.com/featured artist

Meet her this month: 

September 1-3, Art in the Pearl, Portland, Oregon

September 7-9, St. Louis Art Fair, Clayton, Missouri

Public Art Project on Tour in Basel, Manfred Kielnhofer

Shared by Austrian artist and designer Manfred Kielnhofer. The “Light Guards” project is further developed and become a ghost car touring in Basel art show during June 15 – 19 2011.

http://artobserved.com/2011/06/ao-on-site-art-fair-news-summary-and-final-photoset-art-42-basel-2011-in-closing/

Eccentric art was also at Basel, if not as dominant a presence as the traditional buys. Ghost Car by Kielnhofer was a large white van with hooded figures driving outside the fair, and the Bleifrei (which translates to Lead Free in German) Art Collective told Art Info: “Art is like Jesus; it died and it’s coming again.”

Manfred Kielnhofer, Ghost Car (2011) Basel, via Kielnhofer.com

The grim seeker after truth
Anyone wondering why these grim reaper style figures were seated on this white van - look no further than the latest installation from artist Manfred Kielnhofer. He is from Haslach an der Mühl, in the district of Rohrbach in Upper Austria, Austria, and is an artist and designer whose work usually centres around the human anatomy. His recent piece of art is the Ghost Car, which is a product of the developing ‘Light Guards’ project. This project surfaced from the theory that humankind has always been able to boast having guardians in different ways, in potential danger from only themselves. This idea intrigued the artist Kielnhofer, who approached it with his artwork, intertwining the theme of longing for security harboured by all humans. The Ghost Car portrays a sizely white van driving, seating sheet-covered figures. Perhaps this reflects individuality, exploration and recognition of current events in society, as it seems to interpret the theme by suggesting the hooded figures are looking to the drapes and car for protection as they are possibly ghosts, who are afraid of the life after death, and long for safekeeping.
By Alessia De Silva
http://austriantimes.at/news/Panorama/2011-08-06/35422/The_grim_seeker_after_truth
http://kielnhofer.com

If you are one of those who is unimpressed with photography and the creativity that is required, you have to take a look at this work by Angelo Musco. If you have a few minutes, take a look at the video at the link also.

Some people might say that humans beings are herd animals. But these stunning images appear to prove the adage beyond any doubt. 

These surreal mosaics, made from thousands of swarming human bodies, were the talk of this year's Pulse LA art fair.

The awe-inspiring pieces, created by New York based-photographic artist Angelo Musco, are, literally, making waves in the photographic world.

Today is Independence Day. On AFI we celebrate our individualitiy every waking moment. I have been with vocal groups before but YOU ALL define the concept of a "think tank."

So I wondered about all I have read over the past months. Could we get it down to:

ONE THING WE EACH WOULD CHANGE ABOUT THE ART WORLD OR BEING ARTISTS?

(no repeats, except to add an inportant concept to the original)

How high could we go? Each person number your change.

I'll start.

1) I love creating. But I hate having to make enough money to keep the accountant happy. If I could change ONE THING I would improve the economy faster.

It's been a while since I've posted anything and that is due to be extremely busy. Have participated in a few retreats with a basket guild, doing photography ops and working on some fiber art. A lot of my time was taken up with proofing and approving a book that I have written. It has been released and I guess I'll be busy with the promotion of it. It's nothing earth shattering, but does get my foot in the door in the world of writers and it has been an interesting journey.

Just a reminder that the Great Lakes Lighthouse Festival is fast approaching and if you would be interested in displaying/selling your work, please contact Melanie Kirn at mjk361@comcast.net and she will provide you with all the particulars. I will have a booth there again this year with photo's and photo/needle art combo's and perhaps a few other surprises and will be the official photographer for the Festival. Hope to see some new faces there.

All the best to each and every one of you.

Terr at the Drake's Nest in Ossineke, MI

I just want to say to Connie and all who particpate on this site that while I have disappeared for a month or two I am in love with this site all over again.  The content is great!  I love seeing booth shots and detailed reviews of art fairs.  The month of May was hectic - shows each weekend and no time to really catch up doing stock.  All the fairs were in Maryland and have to say Maryland is a good state to be in as my sales are better than last years totals.  

The "story" I have to share pertains to my dad.  I was lucky that I didn't have any fairs for June as my dad, who has been in poor health for 9 years took a turn for the worse - the month I didn't have fairs.  That month being June.  He passed away two weeks ago and just have to say that despite it being a hard thing to go through I am relieved he isn't suffering and didn't happen when in the middle of doing an art fair.  I was doing a great show - Wine in the Woods in Columbia, MD when I had the awful thought - what if I get "the call" in the middle of the fair".  I didn't but the thought scared me to death....  My dad was an avid photographer and taught me a lot about taking photographs, framing and appreciate art in general.  He, in return, was one of my biggest fans.  On that note, has anyone here had to deal with running a business on top of dealing with the death of a loved one?  Right now I am playing catch up as I do not have any fairs in July or August (but not ruling out August entirely) meanwhile helping my mom deal with, well paperwork and such.  I am guessing I should go by the old addage - Just do it - get the work done so it is out of the way and move on to more creative fun work.  So, does anyone have any stories or advice for me with regard to this topic?  My next show, the Maryland Seafood Festival,  is in early Sept. and going to be my biggest show ever which I think, providing the weather will be good, could be a great pay day for me.  My focus is taking the time now to get my ducks in a row so I can do a good job at that show.  Just an FYI in case people are wondering.   I hope all are having good shows and continue to have good shows.  I plan on checking in more often now.  :-)  - Michelle

P.S.  I now have a lot of his work, would it be a good idea to do a "private show" exhibiting his work?  Has anyone done anything like that before - like an open house, or showing at a library or something along that line?  I have only sold my items at art fairs, so this also is new territory 

Here's a small animation I did when I set up a black & white booth a couple of years ago.

In another five minutes, I'd have clicked "Send" on my Zapplication for Howard Alan's Stuart (FL) show, when my cell phone rang.  On the other end of the line was Naples National show director Marianne Megela, who informed me that a spot opened up from the waitlist and did I want to be in this year's National? 

I weighed the pros and cons for about a nanosecond. Or would have, had there been any cons to consider. Then I said yes.  And as events proved out, it was the right call.

This show (#8 festival in the nation) met all expectations: Great weather, large and knowledgeable crowds, phenomenal sales, and a friendly, helpful corps of volunteers: from the parking lot attendants at Friday setup to the former furniture mover for Allied who not only took charge of my long, long dolly from site to vehicle, but inspired me with his story of recovery from drug and alcohol addiction. 

The show's meticulously organized game plan is detailed on their website, and you're expected to have read it thoroughly before arrival (I did).  Setup is all day Friday, but it's organized by "zone" (which is determined by your booth number and location).  I arrived on time at 11 AM for checkin, got my "zone pass" and packet, and was quickly directed to curbside parking on the west side of Cambier Park, from which it was about a 50-yard dolly along paved pathways to my booth location in the center of the park's tree-lined main walkway.  (The park itself is just a block from Naples' 5th Avenue, which hosts a number of shows during season.)  Bright-vested volunteers, some equipped with headsets, were everywhere to help out.

Show protocol calls for you to fully unload, then drive back to the check-in/Artist Parking area and return by shuttle bus to complete setup, although I was allowed to stay curbside since things weren't yet busy.  The shuttles ran continuously (with pickup every 20 minutes) but I had mixed luck with them: Some of the drivers drove around the park as if they, themselves, had a bus to catch, and didn't look around or slow down unless you were waiting right at the curb to intercept them.  No matter: I was empty-handed, and it was only a 12-minute walk back to the lot.

Both days had near-perfect weather (in contrast to last year's cold rain and wind), and the crowds didn't let up all day Saturday.  Sunday's attendance was a bit lower, by all reports, but still heavy on buyers--my sales were actually higher on Sunday.  I was working solo so didn't have much time to interview other artists, but everyone I did speak to were satisfied..even the painter of spectacular African wildlife near me, who zeroed on Saturday, wasn't daunted: she's done the show for years and has a steady clientele in the area.

I came early on Sunday to grab some hospitality muffins and coffee and then walked as much of the show as I could.  The show's main traffic areas are 6th Ave S, on the east side of the park, and the east-west thorough of the park itself.  Some artists were set up on looping connector walkways, and I overheard a few of them talking about being in "dead zones" with lighter pedestrian traffic. 

On such a sunny, warm day--it was in the low-to-mid 80s--it was a bonus to be in the park, under trees.  The streetside booths were unshaded and artists and customers alike said it was pretty darn hot, despite gentle breezes.  The one downside of the park location: You were set up on sand and grass.  If you were on uneven terrain, the crew brought over mulch to level things out, but there was nothing you could do about the dust and grime.  The tent and rugs are going to need a long hosing this week.

As you'd expect the caliber of work was top-notch.  It was great to see so many bags being carried around, and --I gotta be honest!--especially that a fair share of them came from me.

Volunteers brought around breakdown instructions on mid-day Sunday: Basically a repeat of the Friday performance.  A number of large, generator-powered light poles were brought into to illuminate the grounds during teardown--a nice and no doubt expensive touch.  I was directed to the opposite side of the park, though, which meant a dolly of around 200 yards around curving, dark walkways.  Without the help of my volunteer from Allied, I'd probably still be dollying.  He worked his butt off to help me load, and we got everything to the van in three trips and half an hour.  Definitely worth the $30 I offered him!

The Naples Art Association has another show (Mercato) at the other end of town this coming weekend, and after a day at the beach to rewind I'll start gearing up for that one.  If you are lucky enough to do the National next year, bring plenty of inventory, a helper, cleaning supplies, and an industrial-strength dolly.  And with luck, you'll be needing that dolly to load out your cash drawer. 

All that said: I'm just one artist, and it was a big show.  How did YOU make out??

This first piece that I saw of Susan’s shows what every twelve year old girl knows is the truth: horses are the coolest animals on earth.   The image of Kickin’ Up captures the spirit of the animal in an amazing shot of all four feet off the ground, and reminded me of the utter joy of being astride my first snorting steed.

She uses digital techniques to enhance a scene artistically –“painting “ within the digital darkroom, which creates flowing motion like Golden Mane:

Susan’s eye for the dramatic moment extends to landscape also, capturing swooping plains, soaring mountains, jagged natural shapes and vibrant color:

And Sunny Susan herself:

See more of Susan’s artistic photography at http://susanquinphotoart.com/

Well, my inlaws are on their way back to AZ, but that is NOT why I'm doing a happy dance . I am going to be the "Official" Photographer for the Great Lakes Lighthouse Festival Oct. 7-11th in Alpena, Michigan! Last year I did a bit of a photography gig for the Great Lakes Lighthouse Festival Museum and this year have been asked to be the official photographer for them and making an historical CD for them. I will have a booth at which I will be offering not only my photographs of lighthouses and the like for sale, but will be offering a CD of the Festival itself, for those who sign up and pay for the CD. A portion of the proceeds will be going to benefit the Lighthouse Festival Museum and to the lighthouse preservations funds. I'm hoping that there will be a lot of interest in the CD's and photos. If all goes according to plan, I will be doing this photography gig every year, so wish me luck!

My studio renovations are just about complete and I'll hope to be in there working by the fall. My dear hubby says it may even be earlier than that. We have a little bit of the ceiling to finish, trim between floor and walls and install cabinets, book cases and the like and I'll be ready to go. We did finish installing the wood laminate flooring and I have hung curtains so it has a semi finished look to it.

I may post some pictures of the semifinished studio - we will be adding more cabinets as our finances allow in the future. At some point, I will even have a long arm to help with my art.

Have a great day all!

Terri at the Drake's Nest in Ossineke, MI where Giant River Otter play on my pond.

webpage: http://www.drakesneststudios.com

blog: http://www.drakesneststudios.wordpress.com

"I am always looking for the next great shot," says Nels, whose photographs are full of a sensitive use of the light and strong color, reflecting his life growing up in sun-drenched Florida. Art fairs have been his livelihood for over 35 years and his imagery reflects this.

"I have always had a love affair with Key West and go back there regularly for new work. I love the water and do a lot of work along the Gulf, especially the Florida panhandle.