May 1, 2008

Winter in Key West: Fantasy Justification for an Art Festival Circuit
My thought was to take advantage of a season break from the deep winter of the western Rocky Mountains where I live. Having never traveled to Florida, with its reputation for mild winters, I thought taking advantage a few of the many Florida fine art festivals would be a natural way of making February both productive and rewarding. Making pictures in The Keys, along the coast, and in the swamps at a time of year when bugs were relatively inactive and the birds and alligators active felt appealing.

The idea of working in The Keys particularly captured my imagination. The idea of sunlit, turquoise water dotted with green tufted islands, sea birds and sail boats seemed likely. Such seascapes tweak my imagination for capturing some of the surreal aspects of things new to me.

With a fierce blizzard leading the way I began my 5 day hurried trek south and east on icy, snow packed roads south through Utah, southwestern Colorado and northern New Mexico to I-10 for a warm-weather crossing of the continent. That very long, slow driving, first day put me far enough south where freezing weather would not be a further problem. Crossing Texas takes its own day. Louisiana, Mississippi, Alabama and the Florida Panhandle take another day. This approach to the trip gave me an easy day for arriving in Boca Raton for registration and setup for the art museum sponsored fine art show there.

The setting for the festival in Boca Raton is lovely. The open, park-like boulevard accommodated the artists nicely with plenty of space for the strolling public to enjoy the event. Only enough paying customers proved lacking. People kept their hands in their pockets. Only a few “snow birds” seemed willing to indulge their fancy for buying art. This was astonishing, given the stunning quality and variety of art offered by artists form across the country. Seemingly the most successful artists were the 3-D workers. Sculpture generally seemed to do OK. I didn’t find anyone who had a great show.

After the disappointment of Boca Raton, I looked forward to venturing down The Keys to make pictures the next 4 days. The wonderful sunny weather in Boca seemed to rudely vanish, the further south I traveled. Clouds gathered and thickened, the wind found its stride and the high humidity became rain. The only change nature brought my way in 4 days was more rain and wind with varying intensity. Thanks to Key West for their burgeoning Arboretum which gave me a chance to make a few photographs with a wide variety of natural subjects close at hand.

From the social aspects of Key West, it seems to be a very lively, resilient town with many wonderful old buildings and houses weathered by many decades of Gulf storms. Several weathered cypress sided houses dated to more than 100 years. The stalwart quality of these old houses means surviving against dozens of hurricanes and millions of tourists that seem to rollick in any weather. The party atmosphere, from early to late, rain, wind or by moon light carries on with astonishing intensity. Margarettaville lives!

With the next weekend approaching, I headed back north to Jupiter which attracts baseball spring train fan hordes. Amidst the impressive facilities the ArtiGras festival rises to life for a 3 day show of hundreds of very fine artists. Though the setting here lacked some of the esthetic pleasures, the show did draw good crowds. Unfortunately, buying followed the trend I found in Boca Raton. Sculptures did quite well, flat art (paintings, photography, printmaking, and drawings) languished with sparse sales.

Though I had one more show lined up, the trend seemed obvious. Too cut my losses, I decided to make tracks west with intentions of making new pictures along the way. Across Texas heavy rainy weather with tornado warnings aplenty, I pressed west into dryer air.

With heavy weather seeming to follow me westward, I took my pause in southern New Mexico for a few days at White Sands National Monument. Here dunes of white gypsum sand drift sensuously into wonderful, undulating rills and clefts. Early and late light lend definition and shape to the white on white landscape.

So what is the moral to this tale? Locally challenged economic conditions limit what otherwise interested people will spend on art and use the time to create new work in astonishingly wonderful places. The Florida bust will keep me away for many years. As a lover of dry climates, open spaces, mountains and varied terrain without threat of tornados or hurricanes I will refrain from a return back.

Cheers!

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"Society must set the artist free to follow his vision, wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth. The highest duty of the artist is to remain true to himself." 
--John F. Kennedy, 1963

December 15, 2007

Winter Red-rock, Slick-rock Photography
The red-rock, high deserts of The Western states (Utah, Colorado, New Mexico, Arizona and Nevada) seem more surreal in winter. Snow can cover the ground, patches of ice coat slick-rock where snow-melt flows, or crust a pool, and frost can grace trees and sage brush with fanciful sparkle. The white contrast of frozen water in all forms with the deeply toned earthy reds, buffs, browns, and golds of the exposed geology form an essence unique to this place and season. In one sense, like a mask, frozen water conceals details beneath while softening shape and texture to dazzle with distracting brightness.

Photographing the white of desert winter reminds me of the studio exercise of imaging a white egg on a white saucer with the addition of a black and white checker board beneath. The strong contrast demands controlling studio lighting to render shape, texture and tonal quality while rendering the essence of each element. Making pictures in the snow-covered red-rock desert landscape demands great attention to light, shadow and emphasis of snow or exposed geology in the scene. When snow, frost or ice dominate both foreground and beyond, selecting the point of view most favorable to the bright aspects under given illumination will most likely produce pleasing results. When the reverse is true, dark tones and red-rock dominating the view, exposing for the medium tones will likely prove most pleasing.

Now consider the bottom of a dimly lit slot canyon with an interesting ice patter capping a still pool. Controlling reflections and rendering highlights of the glints from the ice texture will yield something pleasing from a close up perspective. If too great a distance were chosen for the viewing perspective, the spectacular qualities of the ice will likely be lost in the dim light. A wide angle view can keep the ice close while rendering the scene in pleasing context.

Winter Shooting Tips
Winter offers opportunities for beautiful scenery and backdrops for photographic adventures. Winter conditions also present a couple of challenges to keep in mind when venturing out for a day of photography in the snow: Temperature and Light.

Temperature
Cold temperatures cause batteries to drain more quickly than we might be accustom. Spare batteries will allow prolonged shooting sessions. By keeping the spares warm will assure maximum capacity when they are required. Keeping them in a pocket close to the body.  In some cases it will help to rotate batteries periodically to allow them to recover in a warm place.

Another consideration on cold days will prevent moisture from condensing on and inside of your camera. When you return from your chilly day out, protect your camera in a protective bag before going into a warm room. Allowing the camera to warm up for an hour or so before using it in the warm building will prevent moisture from entering camera components.

Light

The bright white snow that makes scenery so beautiful can also spoil photographs, by making the subject look too dark. Camera exposure systems, and light meters “see” the bright snow as medium gray. Light readings directly from snowy scenes would result in underexposing the scene. Compensating for this potential exposure error simply requires a wider lens opening or slower shutter speed. Manual cameras can be set to the wider opening of between 1 and 2 f-stops. This range usually suffices. Most automatic cameras have an exposure compensation feature +/- that can be set to accomplish a similar result. Refer to your user's guide to see if your particular model has this setting, and where to find it. Look for this symbol , and set the exposure compensation lower, to counter the extremely bright light that can reflect off of the snow.

I'm preparing to head out for some more high desert winter work in slot canyons, red-rock and slick-rock and frozen deep canyon photography.  When I get back I will put up some new images to consider.

Winter Exhibition

Exhibiting my work always challenges with opportunities for creating and selecting new work and preparing it for people to see as a themed grouping.  Fine presentation really makes a difference in the total look of each piece of work and how people perceive the value of the work.  Even the finest image, poorly prepared for show will fall short in perceived value without careful finishing.

Beginning with making the image in the camera, I strive not only to make a photograph, but do all possible to make a sharply focused and accurately rendered image.  This means care in framing the view, eliminating any unnatural motion in the picture such as camera vibration by always using a tripod with the camera.  In addition, keeping the camera clean both inside and out goes a long way toward eliminating extraneous imperfections in the original image.

With a background in photography rooted in medium and large format film where keeping the camera and sheet film clean from the time the film is loaded into the film holder (in the dark) to the time it is processed after exposure I maintain similar practices now with digital photography.  While touching up the image after exposure is a more efficient and accurate process now in the virtual darkroom than with film printing, care and cleanliness from exposure to finial printing results in a higher quality photograph.

Cheers!

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November 15, 2007

Canyon Autumn

October
Autumn remains my favorite season, especially in southwestern canyons.  Along desert streams and washes vegetation transforms from the growing tones of green to transition the varied, vivid, ethereal colors of brown, gold, crimson.  With the myriad geologically inspired formation colors and long low sun light in combination with the seasonal vegetation the eye candy of autumn color seems amplified beyond reality.

I have a couple of favorite canyons, both with perennial streams that assure consistent sustenance for trees and shrubby vegetation.  The moving water also lends the soul touching essence of splashing.

South of the San Francisco Peaks of northern Arizona, Oak Creek Canyon splits the Mogollon Rim with high, forested cliffs, and a clear flowing perennial stream.  Dropping as much as 2,000 feet in some areas, the Rim escarpment provides some of the most far-reaching scenery in Arizona.    Oak, Maple, native Sycamore, Alder and Poplar thrive in along the bottoms.  This is a favorite realm in early October when Autumn begins to touch the canyon with color changes that linger and quickly evolve.

Just north of the mid-point of the canyon, West Fork enters.  This major side canyon climbs gently into the Red Rock - Secret Mountain Wilderness with long still pools tucked against the Coconino sandstone cliffs where early morning light reflects surreal images.  The unpretentious looking canyon quickly presents a unique and deep gorge punctuated with long still pools glistening with perfect reflections of surrounding features.  Vegetation in this spectacular venue ranges from Ponderosa Pines to Big-tooth Maple and Agave.

Traveling in this wild canyon during Autumn offers abundant seasonal color with very pleasant temperatures and generally storm-free weather.  Here the natural features challenge the imagination with real and surreal reflections of varied color and shadow shapes.  The stunning, beauty and fanciful quality of this remote realm brings a calm in rugged nature of this vast Southwest landscape.  Space and reality merge here to open visual realms to perception and imagination.
 

November
Few places combine the towering, majestic, inspiring, permanence of landscape color with the intensity of seasonal changes as in Zion National Park in Autumn. The season comes late here because of the moderating character of the canyon. The towering cliffs provide shelter from the onslaught of pending winter and create lingering shadow for photography in gentle indirect light.

The Zion Canyon traverses north to south through the park with the Virgin River coursing around gentle meanders lined with Cottonwood, Boxelder Maple, native Ash, and Oak thriving in the riparian bottoms.

Autumn is particularly stunning here, with abundant Autumn leaf color and spectacular canyon landscapes for variety. This desert realm ranges from about 3800 feet to over 7,000 foot elevations which makes for exhilarating photography and recreational opportunities.

Here in the depths of one of the deepest red rock canyons in America, Autumn lingers long in Zion Canyon.  One of the most interesting early morning photography venues come in the small falls and pools of lower Pine Creek.  Trickling over, around and under large boulders and beneath scattered Cottonwood trees the bits of water create elegant reflections in calm pools where images cast by the 1000 foot cliffs shrink to the scale of the boulders.  Lit by the early sun the cliffs reflect brightly in the shaded pools to be framed my golden reeds, floating leaves and submerged stones.

Cheers!

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Autumn At Oxbow

Getting to know a magical location at particularly magical season can capture the imagination for creating an image iconic in both time and place. One magical place that draws me to return each autumn touched me years ago. I venture back each year seeking autumn’s magical vividness. With sweeping broad river bends drawing from an incomparable mountain background, Oxbow Bend on the Snake River in Grand Teton National Park

Seven years ago I found autumn at Oxbow Bend particularly vivid. Following the first snow in the mountains, the sky with breaking clouds carried a memorably clear blue contrasting elegantly with the complimentary yellows and gold changing Aspen. One particular stand of Aspen grabbed my imagination more than any other autumn scene in memory. The combination of notorious colors, the splendid morning, breathless breeze, and the simplicity of a strong horizontal image, inspired a photograph of particular fondness. This picture has proven remarkable to many.

My fascination with this picture inspires me to return each autumn to Oxbow Bend seeking to repeat my success and renew the joy. In each of the last six years I have made my sojourn only to find the leaves touched by early frost, blackened by fungus, prematurely fallen or yet weeks from turning.

Ah, then this year proved the charm. Just after the first dusting of snow on the high peaks, the Oxbow stand of Aspen transitioned to perfect intensity over a three day period. The morning after the storm broke early light gradually worked a glow through the departing clouds lending a disturbing brilliance to the golden stand of trembling leaves. Even the breeze seemed to add a twinkle when the sun emerged to shine bright and ignite the color of memory.

Most who visit here dwell on the spectacular ruggedness of the mountains or the roused elk, browsing moose, roaming buffalo, foraging bear or secretive coyotes or wolves. For me, here with these trees the mountains lend a counterpoint and frame the intense color of autumn. Here I call The Tetons ‘ordinary’ with such vivid seasonal tree color. At any other time the opposite would hold.

So now I relish the last few days and wait for next autumn with more than anticipation and wonder. Will the color yield consecutive years of intensity? Will the mountains generate a storm followed by perfectly departing clouds and pristine sky? Will the magic continue?

Cheers!

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Lens Flare
Lens flare is created when non-image forming light enters the lens and subsequently hits the camera's film or digital sensor.  This often appears as a characteristic polygonal shape, with sides which depend on the shape of the lens diaphragm.  It can lower the overall contrast of a photograph significantly and is often an undesired artifact, however some types of flare may actually enhance the artistic meaning of a photo.  Understanding lens flare can help you use it--or avoid it--in a way which best suits how you wish to portray the final image.

The above image exhibits tell-tale signs of flare in the upper right caused by a bright sun just outside the image frame.  These take the form of polygonal bright regions (usually 5-8 sides), in addition to bright streaks and an overall reduction in contrast (see below).  The polygonal shapes vary in size and can actually become so large that they occupy a significant fraction of the image.  Look for flare near very bright objects, although its effects can also be seen far away from the actual source (or even throughout the image).

Flare can take many forms, and this may include just one or all of the polygonal shapes, bright streaks, or overall washed out look (veiling flare) shown above.

Background: How it Happens
All but the simplest cameras contain lenses which are actually comprised of several "lens elements."  Lens flare is caused by non-image light which does not pass (refract) directly along its intended path, but instead reflects internally on lens elements any number of times (back and forth) before finally reaching the film or digital sensor.

Note: The aperture above is shown as being behind several lens elements.

Lens elements often contain some type of anti-reflective coating which aims to minimize flare, however no multi-element lens eliminates it entirely.  Light sources will still reflect a small fraction of their light, and this reflected light becomes visible as flare in regions where it becomes comparable in intensity to the refracted light (created by the actual image).  Flare which appears as polygonal shapes is caused by light which reflects off the inside edges of the lens aperture (diaphragm), shown above.

Although flare is technically caused by internal reflections, this often requires very intense light sources in order to become significant (relative to refracted light).  Flare-inducing light sources may include the sun, artificial lighting and even a full moon.  Even if the photo itself contains no intense light sources, stray light may still enter the lens if it hits the front element.  Ordinarily light which is outside the angle of view does not contribute to the final image, but if this light reflects it may travel an unintended path and reach the film/sensor.  In the visual example with flowers, the sun was not actually in the frame itself, but yet it still caused significant lens flare.

Reducing Flare with Lens Hoods
A good lens hood can nearly eliminate flare caused by stray light from outside the angle of view.  Ensure that this hood has a completely non-reflective inner surface, such as felt, and that there are no regions which have rubbed off.  Although using a lens hood may appear to be a simple solution, in reality most lens hoods do not extend far enough to block all stray light.  This is particularly problematic when using 35 mm lenses on a digital SLR camera with a "crop factor," because these lens hoods were made for the greater angle of view.  In addition, hoods for zoom lenses can only be designed to block all stray light at the widest focal length.

Petal lens hoods often protect better than non-petal (round) types.  This is because petal-style hoods take into account the aspect ratio of the camera's film or digital sensor, and so the angle of view is greater in one direction than the other.

If the lens hood is inadequate, there are some easy but less convenient workarounds.  Placing a hand or piece of paper exterior to the side of the lens which is nearest the flare-inducing light source can mimic the effect of a proper lens hood.  On the other hand, it is sometimes hard to gauge when this makeshift hood will accidentally become part of the picture.  A more expensive solution used by many pros is using adjustable bellows.  This is just a lens hood which adjusts to precisely match the field of view for a given focal length.

Another solution to using 35 mm lenses and hoods on a digital SLR with a crop factor is to purchase an alternative lens hood.  Look for one which was designed for a lens with a narrower angle of view (assuming this still fits the hood mount on the lens).  One common example is to use the EW-83DII hood with Canon's 17-40 f/4L lens, instead of the one it comes with.  The EW-83DII hood works with both 1.6X and 1.3X (surprisingly) crop factors as it was designed to cover the angle of view for a 24 mm lens on a full-frame 35 mm camera.  Although this provides better protection, it is still only adequate for the widest angle of view for a zoom lens.

Influence of Lens Type
In general, fixed focal length (or prime) lenses are less susceptible to lens flare than zoom lenses. Other than having an inadequate lens hood at all focal lengths, more complicated zoom lenses often have to contain more lens elements.  Zoom lenses therefore have more internal surfaces from which light can reflect.

Wide angle lenses are often designed to be more flare-resistant to bright light sources, mainly because the manufacturer knows that these will likely have the sun within or near the angle of view.

Modern high-end lenses typically contain better anti-reflective coatings.  Some older lenses made by Leica and Hasselblad do not contain any special coatings, and can thus flare up quite significantly under even soft lighting.

Minimizing Flare Through Composition
Flare is thus ultimately under the control of the photographer, based on where the lens is pointed and what is included within the frame.

Visualizing Flare with the Depth of Field Preview
The appearance and position of lens flare changes depending on the aperture setting of the photo.  The viewfinder image in a SLR camera represents how the scene appears only when the aperture is wide open (to create the brightest image), and so this may not be representative of how the flare will appear after the exposure.  The depth of field preview button can be used to simulate what the flare will look like for other apertures, but beware that this will also darken the viewfinder image significantly.

The depth of field preview button is usually found at the base of the lens mount, and can be pressed to simulate the streaks and polygonal flare shapes.  This button is still inadequate for simulating how "washed out" the final image will appear, as this flare artifact also depends on the length of the exposure (more on this later).

Other Notes
Lens filters, as with lens elements, need to have a good anti-reflective coating in order to reduce flare.  Inexpensive UV, polarizing, and neutral density filters can all increase flare by introducing additional surfaces which light can reflect from.

Cheers!

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Simple Cover for Rainy/Wet Conditions
If you are a photographer that works outdoors you know dust and rain can wreak havoc on camera equipment, especially the interchangeable lens digital single lens reflex (DSLR) style. While one or two raindrops may not hurt a camera, a torrent would surely take a toll. Some of the top of the line camera models have utilized gaskets and weather stripping, at every opening, to help seal the electronics inside. Most cameras and fewer lenses include such features. So, how do you continue to enjoy the outdoors without toasting the sensitive electronic internals?

An inexpensive, yet effective solution to protecting camera and lens from nominal rain awaits at the local grocery store where Saran Quick Covers, though they are harder and harder to find. These are thin polyethylene circles with an elastic edge, much like an inexpensive shower cap found in most motels (which also may be used). I have taken to using plastic shower caps. With the large size cover it is possible to hook one edge over the lens hood of a large size zoom and draw it rearward to hook the other edge over the camera body. These handy covers will protect precious equipment from most rain and drips.

You may stretch a plastic shower cap over equipment while it is perched atop a tripod awaiting the next shot. They may be used for a cover while moving through dust, sand, or across the beach searching out that next shot. They may also be employed as a protector while working near salt-water spray. For small compact cameras a good-sized zip lock bag will do the trick. Remember to replace them often to prevent trapped sediment from working its way back to the camera.

The covers are thin enough to see through and still operate the camera with them in place. It is possible to lift the rear edge up to access the eyepiece for focusing while still giving shelter to the camera. Smaller cameras and lenses may make use of the smaller size covers. These stretchable covers require virtually no room in the camera bag or pack and are as light as a few feathers. Keeping one or two handy for protection against the unexpected squall offers a simple, practical protective solution.

Cheers!

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Traveling
Traveling to new locations offers opportunities to experience new places and unforeseen challenges.

One of my favorite photographic challenges comes with moving water in natural settings.  Each such circumstance brings unique accompaniments including the moving water, rocks and other static surroundings, vegetation and other possibly kinetic contributors.  The energetic nature of moving water presents a tremendous range of qualities.  The effect of gravity on falling water presents a fairly predictable effect.  When photographing  churning motion in a cascade, merging flows, or crashing waves yield unique, somewhat unpredictable results.

Shutter speed relative to the velocity of moving water, largely determines the effects of motion in the image.  Commonly, a "milky" effect results when very long shutter speed is used.  The loss of detail in the moving water results from a merging of all detail in a smearing effect.  By selecting a shutter speed matched to show some motion streaking while maintaining some highlight detail in the moving water yields a more realistic and often more pleasing result.

Try various shutter speeds on the same subject to gain experience so that predicting final results can be come part of the repertoire.  Motion effects bring dimension and reality to many images.

Cheers!

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Which should you shoot: RAW or JPEG
Simply put, JPEG or JPG makes the most sense for most people. JPEG files by definition compress image information.  This allows them to be smaller than non compressed image formats like RAW camera files or TIFF editing files.  JPEG images look great to the eye and require much less memory space on memory cards or computer hard drives. Small file size also means that image recording time in the camera is short, allowing faster shooting of multiple images. JPEGs are usable right out of the camera. No further processing is required to obtain a usable image. The ease of use makes them ideal for sharing pictures quickly and broadly. That is one reason why JPEGs have become the primary internet image standard.

What is JPEG?
JPEG or JPG (pronounced "jay-peg") is a standardized image compression mechanism for either full-color or gray-scale images of natural, real-world scenes. JPEG is an acronym for Joint Photographic Experts Group, the original name of the committee that wrote the technical standard. JPEG is designed to exploit known limitations of the human eye, notably the fact that small color changes are perceived less accurately than small changes in brightness. Thus, JPEG is intended for compressing images that will be looked at by humans. If you plan to machine-analyze your images, the small errors introduced by JPEG may be a problem for you, even if they are invisible to the eye.

JPEG images also record only 8 bit per color channel.  This means that each pixel has 8 Red, 8 Green and 8 Blue bits associated with it to carry color image information.  As a comparison, RAW images ( which are covered in more detail below) offer 12 bit color depth, i.e., 12 bits for each of the three RGB colors.

JPEG is "lossy," meaning that the decompressed image looses image quality from the one you started with. (There are lossless image compression algorithms, but JPEG achieves much greater compression than is possible with lossless methods.) JPEG file compression can be varied by adjusting image parameters. This allows the image maker to trade off file size against output image quality. You can make *extremely* small files if you don't mind poor quality. On the other hand, if you aren't happy with the output quality at the default compression setting, you can improve quality until you are satisfied, and accept less compression.

JPEG images have become the primary international standard for transmitting pictures over networks because of small file size and controllable display properties.

This link will take you to the official JPEG, Joint Photographic Experts Group , WEB site, Click Here.

What is RAW?
As the word implies, these are the ‘Raw’ image data from the imaging sensor in the camera. To use a RAW file, software processing is required. After processing, a standard image file is created, usually a TIFF file which offers full image quality and information for further editing without loss of image quality. RAW files require much more memory storage space than JPEGs. Another aspect of large file size is that the original image requires more camera recording time, slowing multiple image shooting to wait for the recording process to complete.

RAW images offer 12 bits of color information for each RGB channel.  This means that 12 bit of information in the Red, Green and Blue color channel plus 12 bits grey have 48 bits of information associated with each pixel.  The color fidelity of a RAW image is theoretically very high with 16.7 million color scale available to provide a wider range of tones and superior detail in bright highlights and deep shadows when compared with JPEG files. RAW files must be "processed" before they can be opened in your computer's image-editing software. This conversion process typically takes only a few seconds using the dedicated driver software, which will convert the RAW file into a standard 8-bit per channel JPEG or TIFF file, or for maximum tonal range, a 16-bit TIFF.

Generally, shooting RAW is not necessary for making very pleasing pictures. The extra memory space and required processing to use RAW originals makes them the province of only demanding applications.

Shooting RAW vs. JPEG may be a very personal decision. I use RAW for quality critical images, actually for everything.  You, however may find JPEGs most useful for event type shots which are usually taken in large numbers and will seldom be enlarged very much.

Cheers!

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Consider Quality: Showing Quality On The WEB: The Impossible Dream

First, there is the terrible resolution of the computer screen.  How can you possibly see the incredible resolution and expansive color tonal range of my prints on a flat LCD screen or even the finest CRT screen.  Or render the fine surface of the 100% cotton-fiber paper I use on the WEB.  For someone like me who is dedicated to creating fine quality, archival color photographs, individually printed on superb fine art paper, what you see on the WEB can only leave an impression of what my pictures look like in person.

Second, there is the lack of detail.  It really takes first hand viewing to truly see the quality I strive for in every finished piece, in every finished size.

Third, you can't really hold the piece in your hands to closely inspect the print, feel the texture of the solid wood frame, the crispness of the frame corners, the clarity of the conservation glass.  After all, to see the wonderfully rich depth of solid hardwood frames like my natural cherry or white maple you need to touch it, heft it and hang it on your wall for full effect.

Does quality image making come from the way I see a subject?  Does it come from my lens selection?  Does it come from my obsessive use of a tripod?  Does it come from the fine cameras I use?  Does it come from the ISO sensitivity setting I use?  Does it come from the shutter speed and lens opening I select?  Does it come from the patients I apply to waiting for the breeze, the clouds, the time of day, the storm to peak?  Or does quality in my images result from all of this and the many other intangibles in creative photography?

Once you see my work in person you may glimpse the depth of dedication I seek in creating truly worthy archival photographs.  Share with me fine natural image photography.

Cheers!

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Consider Quality: In the End: Finishing & Framing

Finishing each print includes 8 ply museum matte and solid hardwood frames with conservation glass or Plex for extra UV protection.  I make my favorite frames using natural cherry or white maple.  I finish the back of each frame for easy hanging and with a paper seal backing to close the frame against intrusion.

My studio-wrapped archival, fine art canvas prints allow me to make very large pieces.  I use heavy-duty solid pine stretcher frames and wrap the 100% archival, fine art canvas by hand for a firm, even finish.  Each canvas print receives a stabilizing coating for protection and heirloom quality.  I like to use simple floater frames to finish the wrapped print for hanging.  Of course, I prefer solid cherry or white maple in the floater frames for consistency, durability and clean presentation.

Beyond the materials and finish of the final frame, I believe precision in making my 8-ply mattes and frames contributes an additional level of quality.  Using the wonderfully aligned and calibrated Fletcher 2200™ 60" matte cutter allows me to make even very large mattes with elegantly cut beveled corners.  This excellent matte cutter aides greatly in precise, repeatable cuts even on my 54" 8-ply museum mattes.

My frames benefit from the excellent 10" miter saw I use, the heavy-duty, precisely calibrated molding support, as well as the specially designed Forrest™ brand carbide tipped miter saw blades, the frame corners are clean, precisely matched for assembly without re-working.  Even the corner fastening/gluing system I use employs precision.  I use a specially designed Fletcher router and tapered corner-lock wedges to align and secure corners for precise gluing.  These fine frame making tools enable creation of wonderfully finished solid hardwood frames of fine quality to match the heirloom quality of each of my archival color photographs.

Cheers!

Consider Quality: Archival Color Pigment Printing

Making prints of the pictures I make in the field, brings additional delight.  I like making my prints as much as making the original image.  The print becomes my way of communicating the essence of the image to others.  This process of bring my pictures to present to a wider audience propels my need for quality in print making.  I strive to create a final print that is as faithful to nature as possible, and of heirloom quality. 

Achieving this requires using techniques and materials of fine quality and precision.  To this end I apply a consistent method to printing which includes precise calibration of every step of my process.  This includes using 100% cotton-fiber, acid-free archival fine art paper.  I have come to use only one paper which offers consistent quality and allows making prints with consistency and fidelity.

In print making as in making the original picture, I seek a perspective to amplify the unique character of the image.  Cropping offers great control over perspective in the print and one I enjoy applying in my work.

Using the print as a record of growth and a means of sharing, I pursue greater connection with my medium and how light graces each subject. The advent of archival, digital print making enables a level of control and quality long exclusive to black and white darkroom prints. I find digital color pigment prints increasingly satisfying with truly archival quality, luminescence, accurate color quality, and full tonal depth.

Cheers!

Consider Quality: Patients Makes the Difference

Take the time it  takes to make the picture.  The lesson of patients weaves throughout my work and provides opportunities to see many things otherwise missed.  Waiting for opportunities and being ready for them make many images possible.  Without patients, much of the best passes unnoticed.  This approach provides the time and space for striving and learning with practice, practice, practice.

With this approach to making pictures, I find attaining high image quality comes as a natural result.  I believe in using time as an integral part of making pictures.  I strive to never let pass an image that I see.  I strive to dedicate the time it takes to make an image.  I strive to always explore fully a subject until satisfying my perceptive conscience that I have made the picture I sot.  I strive to always turn-a-round, both literally and in my minds eye, to seek another perspective.

Making photographs brings imagination, light, nature, time and space together with a transcendence to reality for me. Working exclusively in natural light, I emphasize natural surrealism while engaging the emotions evoked by the natural realm, especially the mystery or magical essence of light-play in the world. Photography provides me an expressive channel that transcends language. My pictures emerge through imagination and experience with the interaction between light and subject supported by a keen interest in natural history. 

Likewise, I apply the principles of patients in making each of my prints.  For I find great satisfaction in creating the final print of the ultimate expression of my photography.  This is how I share much of my image making.  This is how I ultimately communicate my expression.

Cheers!

Consider Quality.

Artists naturally carry quality to new levels.  The pursuit of art as a personal quest to convey meaning beyond conventional language requires striving for an essence beyond convention or the conventional.  To me this means bringing the love of my art to others.  I apply myself fully in my work and trust that the thread of quality weaves from conceptual image to the final viewer to test my faithfulness to my artistic goal.

If it were simply the subject in a picture, or the shape of the statue, or the color of the glass that are important in art, expression would not be allowed to challenge the viewer with ideas beyond simple reality.  This is why I constantly confront where and what in my photography.  These 'real' subject or aspects of an image at best bring superficial expression.  Only through seeing the mingling of light, shadow, color and tone, line and texture, these and more, emerge for me to be the image.  This speaks of essence beyond reality.  This extends quality to the level I seek in making pictures.  Quality becomes woven into every aspect of my image making process, including what 'I' see and seek to convey to the viewer.

While it is ultimately true that I make my pictures somewhere and of something, those realities do not exist as my art.  They simply are facts of the piece, just as paint, canvas, paper or other materials.  Light and how I perceive it and record the interaction in the natural world form my art.

Cheers!

Memories of Living

Making memories in pictures takes many forms.  The path to making an image rises from experience, training, vision, perception and intangibles in imagination. 

So called 'snap shots' bring a perspective of intimate immediacy born in spontaneity or the moment.  Millions more such images find realization than all commercial image making or rendered from an artistic view.  The shear number of people making personal pictures brings a measure of authenticity.  Then there are the posed or contrived pictures devised to illustrate an idea or to celebrate an event.

Portraits represent one aspect of the posed image.  Of family, friends, pets, colleagues, or the important someone, portraits offer a linier memory in time.  Portraits document the subject as a marker or reference.  Portraiture has a long history for imaging people for display for others to see.  In historical terms, portraits offer the only glimpse of the likeness of public figures or family members.  These images were created as paintings which made them the province only of those with substantial resources to afford to create the picture. 

The advent of photography opened the door for many more people to afford portraits.  This has evolved to now represent a regular sequence of family or organizational portraits to record stages of life or members of the group.  Today, annual family portraits often grace Christmas cards or the mantel and finally to be archived in family albums or the like.  Such visual records may be formal in a studio or outdoor setting or informally in a more spontaneous circumstance in the back yard or on vacation.  All represent a modern take on memories of life.

Today we commonly see portraits moments after birth of a child.  This was not possible in prior times.  A few elements have combined for this to now be both possible and acceptable.  Here I am implying the role of technology and social convention in making birth portraits acceptable.  The advent of compact cameras, both still and motion picture, make suitable equipment conveniently available to make picture taking easy and reliable.  Modern film and now digital technology make consistently pleasing pictures reliably possible.  With little expertise, modern technology gives casual photographers incredible image making power and control.

Social conventions have also contributed to the evolution of subject and posing choices.  We have come to accept the view of a new-born as OK.  I think this stems from three angles.  1) Technology make the pictures possible. 2) Modern morays accept documentation of intimate aspects of life more acceptable than ever.  3) The willingness of parents to share their excitement though pictures.

Cheers!

New Year - New Experiences

So, what are you anticipating in 2007?

Is there a new place you plan to visit?  Is there a new approach you hope to have to something familiar?  Is there an association you imagine developing?

Common to each will likely be a set of new experiences.  Through experiences I have always found newness and the seeds of change.  Change has become a fond element of living I look forward to.  Change always brings opportunities for learning.

I know without a doubt that I will experience many new places this year.  I also know I will find new ways to look at some familiar things and that at least a few new people will grace my life and in the process shed new light on living.

Among the newness I look forward to is making many new pictures.  I will find new angles, new ways of seeing, and new ways of presenting my work. 

So for now, Happy New Year!  May it be full of newness for you.

Giving Thanks

Throughout the year I have the privilege to travel the west.  Even short jaunts give me opportunities to experience new places or familiar ones in new ways.  This gives me photographic opportunities along the way with new vision and understanding.  Making images stays in my mind at every turn, whether in the camera or in my minds eye.  What a world.

Nature in all the variety and evolving ways keeps me constantly fascinated.  The breeze and feel of each place impresses the senses and influences my image making.

So here we are in late Autumn.  Nature makes this the harvest season and tradition makes this a time of abundance and preparation for winter.  In America we celebrate the season with a holiday of Thanksgiving.  Our divers culture comes together in this celebration more than in any other because no matter what our personal standing or belief, the idea of giving thanks as a community remains a bond we all share.  I like sharing. 

That is why I make pictures.  I want to share my feeling and response to what I see.  Since I am fortunate to see the world in a way few others can, I believe I have a responsibility to share my work in as many ways and formats as possible.  In that effort I give images to the world and those that I must charge for to keep doing what I do, I keeps modest prices.  I like sharing and thank all who see my work for taking the time to look. 

Thank you!

What's Next?

It isn't easy being an artist.  This gypsy-like lifestyle teaches so much about living frugally, I have gained a firsthand appreciation for the stereotype of a 'poor starving artist'.  As anyone who knows me or explores my WEB site discovers, photography has long been my driving force and passion.  Pursuing my art carries me to many wonderful places in nature and in my imagination of the image making possibilities in what I see.

In virtually every moment my minds eye perceives myriad possibilities in everything around me, especially what I see. I strive to imagine beyond the obvious and respond always to make images of what intrigues my vision.

Pursuing my artistic career requires delving into the 'business' of art.  I must pursue selling my work to keep going.  Selling my work takes as much time as making pictures with much less enjoyment beyond earning enough to sustain what I do.  As you might guess, art festivals represent a major opportunity to sell my work.  I participate in several festivals each year though out the West.

Over the past 6 years my sales have declined steadily at art festivals to the point now that it is a break-even proposition.  My fellow artists have similar business experience.  We conjecture about what lies at the root of our falling sales and have arrived at on general conclusion.  The growing fear in American society has come to inhibit people from buying art.  Practical purchases dominate as never before. 

I look forward to next year with the changes this election season will bring.  My feeling is that Americans are tired of the atmosphere of fear fostered by the republican power base.  Fear will be shed as a way of living in favor of our traditional optimism and hope our deep culture strives for in both day-to-day life and long term belief.  This will be good for me and my art and I believe for us all.

West Fork of Oak Creek

While West Fork offers delightful passage nearly any time of year, I prefer mid autumn when deciduous trees come into seasonal color. The added contrast and play of light with more tonal variation makes for some dazzling photographic opportunities. This trip to West Fork had a refined focus. My main interest was the calm of the morning (lack of breeze) and the early autumn color of the canyon maple trees.

Entering Oak Creek Canyon from the top begins from the volcanic rock rim which soon transitions to limestone and finally to Coconino Sandstone. Oak Creek provides a rich riparian zone where native oak, juniper and sycamore trees line the boulder strewn stream bed. The wonderful reflected light in the canyon lends a warm glow particularly of note in the main tributary, West Fork.

After waiting for more than 15 minutes after the scheduled opening time for the trailed, the ranger finally showed up to unlock the gate. I like early starts here to take advantage of the indirect natural lighting before the sun begins to illuminate to deeply into the canyon.

Heading down the trail, the stream was running a little higher than usual for this time of year still carrying the runoff from the rains of the last few days. Even with the extra flow, the water flowed clear. One of the unique things about this canyon system are the multiple long, deep pools holding back the flow behind natural dams in the many gradually sloping sections. The gentle grade also makes hiking undemanding and pleasant. This seems to induce a relaxed approach to the adventure with a relaxed pace for noticing details usually passed by in more stressing environments. From wafts of breeze to fluttering butterflies and perching birds, to scurrying beetles or cottontailes, or reclusive coyotes, even glimpses or gentle sounds cross with time to appreciate the nuances all around.

At the confluence of Oak Creek with West Fork, the gently flowing water attracts my ear for investigation. Possible reflections beckon. Then the varied, water worn boulders and cobbles suggest using the moving water as a foil to frame the scene. Among the boulders and flowing water, small eddies and pools yet offer reflections to punctuate the view even as counter points to the smooth, softly lit boulders. Just as the water from each drainage mingle here, the water worn rubble from long years of coursing floods bring together a blending of deep gray tones boulders with vivid red-orange companions.

Turning upstream into the mouth of West Fork, the first long, still pool attracts my eye with clear reflections of the opposite curving canyon wall reflecting. The image looks like a sharp confluence of reality and illusion at the mirroring waterline.

West Fork meanders west out of the main canyon, deepening and narrowing westward. The perennial stream cuts against the Coconino Sandstone walls creating many arching passages where long, still pools repose much of the year. The reflective qualities of the calm water offer peaceful reprieve where light plays gently on the surface and penetrates into the clear depths. Shadows shroud the deep, narrow canyon much of the day, even in summer.

Following the sharp bend East ward brings me to perhaps the most recognized view in West Fork. Here a very visible red sandstone, curving, overhang frames a broad curving pool. Lingering here for many pictures comes easily to mind. On this day, I opt for the counter view.

From the opposite bank, I find a vantage between several giant fallen, weathered trees to make several images of appealing reflections of the curving cliff overhang and driftwood. The calm surface seems surreal in its uncommon stillness. I am always intrigued by the rare qualities of this place.

Taking an opposite point of view from a bar at the bend below the arching overhang, three tremendous leaning and arching trees posse to frame an astonishing reflective scene. The dark tree trunks, penetrate the reflection opposite the depth of the arching cliff for dynamic, surreal symmetry.

Venturing on the, well established path leads through and intermittent canopy of ponderosa pine, oak, alder, willow, and eventually spruce and fir. At foot, creeping Oregon grape, mountain lover, dog bane, and poison ivy bound the way. The trail meanders nearly as much as the stream which forces many wet crossings or boulder hopping to avoid the chilly water.

Another photogenic aspect of the stream in this sheltered canyon results from the many places where water flows over or against bed rock. So much exposed geology lends to some very inspiring photography where thin films flow in the reflected light of sky and the glow from the far red cliff faces. It is as though reflections live and evolve in the water here. Every moment, each time I come to West Fork, light-play creates images I have never seen. Even revisiting the same spot, from the same view, what I see is new.

Autumn adds special color possibilities with ever changing leaves. Even the sky holds wonderful seasonal deeper blue. Whether directly viewing the subjects of color or by reflection, Autumn here captures my fancy like few other places I know.

Quince

Spring has sprung as the saying goes.  Snow has melted, mud season has arrived, breezes warm the afternoons and flowers are emerging.

Flowering bulbs have graced the early days of spring for  more than a month and now apricot trees, plumbs, forsythia and quince join in with the daffodils and early tulips to a fragrant blast of color.  For my part, Apricot flowers popping like popcorn, and Pink Quince bursting with bold color and gentle fragrance bring particular delight.

Perhaps my child hood memories of Apricot trees blooming first to be closely followed by my mother's giant Quince shrub along the back fence still hold my fantasies.  Beyond these memorable delights, I now relish making photographs of the early flowers.  This year Quince captured my attention, more than once.  I spent several afternoons in the front garden with neighbors peering and wondering what I might be seeing so worthy of hour after hour with my tripod and camera.

This is one of my favorite ways of enjoying a Sunday afternoon.  How can you beat a clear spring day with a few puffy clouds, enough of a breeze to make close-up photography a bit more challenging?  And then there are the flowers open wide against others barely waking up in bud.  The Quince way of marching out a succession of blooms over a couple of weeks makes for a lasting display and a garden wafting with fragrance.

Palm Springs

The first weekend in March, I participated in another small art festival. This one was held in the cities art center park on Palm Canyon Drive. This was the last in an annual series or 5 beginning in mid-January sponsored by West Coast Artists.

The outcome of the event was generally poor for most exhibiting artists. Virtually no promotional support was provided for the event. The banner at the event on Palm Canyon Drive does not strong promotion make. Many people who did wander through the festival expressed surprise that the festival was being held. The result was few people came and even fewer were their to buy art.

Despite the purported well funded art collecting community in the Palm Springs area, little support for the West Coast Artists' show proved out. Of the few seeming to be interested in the work of most artists, a frequent question came up, quarrying if I or other artists would be in the La Quinta festival in Mid-March?

La Quinta's reputation clearly holds great sway for art buyers in the Chuckwalla Valley. La Quinta advertising was also readily apparent on television and on the lips of many people in Palm Springs. I and most other artists at the Palm Spring show are keenly aware of La Quinta with most of us having applied and been turned down for participation, again. But clearly, La Quinta is the ONE to been in and the other art festivals in the area are pretty much a waste of time.

Where is it?

Most patrons attending art exhibitions or fine art festivals show little depth of art understanding. The ‘what is it?’ and ‘where is it?’ questions dominate conversation. As a photographer, the 'where is it?' question comes more often than any other. People want to know where I made my pictures. I find this irrelevant, distracting, irritating and not about what I do in photography.

My photographs originate in my reaction to the natural world and represent my response to what I see and am able to put to paper. Such questions really seek to get at my artistic methods and techniques.

On the other hand, painters very seldom face similar questions. People intuitively realize that a painting comes about as the artist response to what they see, feel, imagine, etc. Where is it never gets asked because painters are perceived as 'creating' the image while photography 'never' enjoys similar creative respect.

When people ask a photographer 'where is it', it is like asking a painter or sculptor which brush and paint consistence they use or what clay and texture works best. These personal artistic methods are inappropriate queries.

In my work, I constantly seek to interpret reality in my way. The way I see things and make images must pass through the same kind of creative filter a painter applies but has yet to enjoy artistic respect on the level other fine arts has.

I would very much enjoy having people seek to understand how I understand my images. What I was seeking in making the picture, how I interpret the picture now. These are much more informative artistic questions to me. Art is now where. I comes much more from a place of why, feeling, expression, interpretation.

Arizona to Colorado

Late season art festivals took me once again to the Phoenix area in Arizona.  The weather and temperatures feel sooooo... good this time of year in the Sonoran Desert of Arizona.  I participated in both the Fountain Hills Arts Festival and the Tempe Art and Craft Fair.  These are huge events with more than 400 booths in each.  Once again, flat art --  photography, painting, watercolor and the like did not do well.  3D art like jewelry, sculpture, and ceramics seemed to sell more reliably.  Of course, food did well as did clothing and toys.

Returning back to Salt Lake from Arizona was a bit of a shock with winter temperatures and snow.  Oh well, it is the season.

After the holidays, and with winter on my mind, I made a jaunt to Ouray, Colorado to make photographs of in the ice park there.  The weather had turned unseasonably warm and the ice was not as abundant as usual.  None the less, hundreds of climbers were out each day enjoying ice climbing and the beautiful days.  It seems that any time of year in Ouray has such short days with the sun rising above the mountains for only a few hours in the narrow valley nestled beneath the towering San Juan Mountains.  It is such a beautiful setting.

West Fork of Oak Creek

Among my favorite drives remains the "Old Highway", US 89A from Flagstaff to Sedona, Arizona.  South of 'Flag', as the locals call it, the highway begins to descend quickly on a curving route into Oak Creek Canyon.  The volcanic rock rim soon transitions to limestone and finally to Coconino Sandstone.  Oak Creek provides a rich riparian zone where native oak, juniper and sycamore trees line the boulder strewn stream bed.  Shadows shroud the deep, narrow canyon much of the day, even in summer.  The wonderful reflected light in the canyon lends a warm glow particularly of note in the main tributary, West Fork.

Cutting west out of the main canyon, West Fork meanders, deepens and narrows westward.  The perennial stream has cut against the Coconino Sandstone walls to create many arching passages where long, still pools rest much of the year.  The reflective qualities of the calm water offer peaceful respites where light plays gently on the surface and penetrates into the clear depths.

Following the well established path leads through and intermittent canopy of oak, alder, willow, and eventually spruce and fir.  At foot, creeping Oregon grape, mountain lover, dog bane, and poison ivy bound the way.  The trail meanders nearly as much as the stream which forces many wet crossings or boulder hopping to avoid the chilly water.

One of the photogenic aspects of the stream in this sheltered canyon results from the many places where water flows over or against bed rock.  So much exposed geology lends to some very inspiring photography.

While West Fork offers delightful passage nearly any time of year, I prefer mid autumn when deciduous trees come into seasonal color.  The added contrast and play of light with more tonal variation makes for some dazzling photographic opportunities.

February 18, 2005

Colorado & Mojave Deserts

Abundant rain since last fall has stimulated one of the most abundant wildflowers seasons in the southwestern deserts in decades.  In mid-February I ventured south to revisit areas I have neglected for far to long.  My expectations failed to anticipate the reality of the explosion of color flowers now blooming and increasing in loveliness.

Never have I seen such lush and expansive meadows and hillsides wildflowers.  Even the most lush mountain meadows pale in comparison to the intensity of growth and flowering desert visitors will find in Arizona, California, Nevada and Utah this spring.

Antelope Canyon

The Colorado Plateau gives rise to a great expanse of complex, exposed geology in southwestern Colorado, northwestern New Mexico, nearly the northern half of Arizona, and a diagonal southern half of Utah.  Much of this beautiful area is traversed by a series of canyons cut by water erosion over the eons all flowing toward or into the Colorado River canyons.  A few of these normally dry canyons slice a narrow clefts in the sandstone a shoulder width or less wide.  Such slim passages often catch boulders or tree trunks too large to pass in the rushing flashfloods that gush during heavy rains.  These narrow gorges make up a group classified as slot canyons.

Among the  particularly elegant and easily traveled slot canyons, Antelope Canyon near Page, Arizona provides a wonderful introduction to anyone able to walk a short distance through its narrow confines.

Another There and Back Again

Winter jaunts often prove most rejuvenating, as with my venture to the Wet Valley of South-central Colorado.  This beautiful local has captured the imagination of many transplants and old timers who ranch the lush meadow grasslands or punch out a spot of real estate as a retirement plot.

Either way, it is easy to see the attraction with the snowy peaks of the Sangre de Cristo mountains bounding the western side of this long valley.  The Wet Mountains slope gently into the valley on the East and lend part of the name of the place. 

Historically, mining and railroading gave rise to the two towns that once flourished and only now are reemerging as centers of tourism and local commerce.  Silvercliffe, once a thriving mining town

'Passages' a One-Man Fine Art Photography Show Opening for Marv Poulson on January 21, 2005

The Exhibition will occupy the large wall spaces in the Main Floor Chapman Library Gallery in Salt Lake City, Utah Until April 1, 2005.  Link to the Library Currently Running Events.

Marv works in natural light, engaging the emotions evoked by the natural realm, especially the mystery or magical essence of light-play in the world, using 35MM and 4x5 color transparency film scanned at high resolution, and high resolution digital cameras to match the natural image for direct color printing. Using archival pigment printing techniques and materials, Marv creates luminous prints with full color and tonal depth on acid free, cotton fiber paper to create a finished print that is as faithful to the natural image as possible and of heirloom quality. Finishing each print includes 8 ply museum mat and oiled natural cherry framing.

This one-man exhibition will continue from January 21, 2005 to April 1, 2005 with a reception for the artist from 4-5:30pm on the opening day.

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Magnetic Photographic Calendars Announced

Available immediately on the Imagedancer WEB Site (www.imagedancer.com) you will be able to preview and purchase these versatile 12 month calendars.  Each calendar is individually printed on special durable, permanent, magnetic material, perfect for refrigerator doors or any similar steel surface.

These specially designed, innovative calendar features some of my most popular images, and includes the full 12 calendar months. Three calendar sizes are available, measuring a convenient: (Large - 10½" x 7", Medium - 8½" x 5½", Small - 4¼" x 2-3/4" for your refrigerator or similar steel surface. You will find this handy calendar useful for everyday reference and enjoyment.

Each convenient, and useful calendar includes some of the 100s of beautiful images from photographer, Marv Poulson's collection of Natural Image Photographs.  Take advantage of these magnetic calendars as a useful and functional introduction to Marv's Natural Image Photography.

Visit www.imagedancer.com today for these specially printed Natural Image Calendars.

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Major Screen Saver Price Reduction

Marv Poulson, photographer and creator of Natural Image Screen Savers announces a 50% price reduction for all of his Imagedancer screensaver downloads.  This dramatic price cut from $10.95 to $5.45 takes effect immediately. 

For a limited time, customers may also take advantage of a further 10% discount!  This will make all Natural Image Screen Saver Downloads available for only $4.90!

Nearly 50 Free Trail download screen savers are available on the Imagedancer WEB site: http://www.imagedancer.com/screen_savers.htm.  Anyone interested in PC based screensavers may download any of the Free Trial versions of the screen saver titles and make purchase selections at the end of a 10 day Free Trial period.  Purchase downloads for all Natural Image Screen Savers will only be $5.45 from now on. 

Free Trial Screensaver titles include:
American Sand Dunes 3, American Deserts 3, American West 3, Mountains and Canyons 3, Natural Arches 2, Red Rock Canyons 3, Shear Canyons 3, This Land 2, Western Beauty 2, Wild Places 3, Scenic Utah 2, National Parks 3, National Parks and Monuments 3, Zion National Park 2, American Autumn 2, Autumn Colors 3, Beautiful Autumn 2, Winterscapes 2, Springtime in the Rockies 2, Beautiful Lake Views 2, Pristine Waters 3, River Views 3, Water Falls 2, American Skies 2, Beautiful Clouds 2, Gathering Clouds 3, Western Sunsets 2, Alpine Wildflowers 2, Beautiful Rare Wildflowers 3, Beautiful Cactus 3, Beautiful Rare Cactus 3, Desert Wildflowers 2, Mountain Wildflowers 2, Spring Wildflowers 3, Stunning Wildflowers 3, Summer Wildflowers 3, Western Wildflowers 2, Wildflower Meadows 2, Ancient Rock Art 3, Curious Critters 3, Ancient Trees 3, Natural Fractal 3, Arches National Park, Canyonlands National Park, Beautiful Springtime, Rocky Mountain Wildflowers, Beautiful Fractals

Visit www.imagedancer.com for all of the Natural Image Screen Saver Free Trial downloads.  Imagedancer also offers CD-ROM based screensavers featuring many additional titles with more images.

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Wild Heart Gallery Grand Opening

Marc & Francesca Moribella, Owners of Wild Heart Gallery, in Sedona, Arizona Will host their grand opening on Valentine Day, featuring the work of Marv Poulson, Photographer.

Wild Heart opened its doors the last week of January 2004, to an enthusiastic art community in Sedona, Arizona.  The Gallery features an eclectic selection of nature oriented fine art. 

Artist represented by the Wild Heart Gallery include: Photographer, Marv Poulson who works in Natural Image Photography to create beautiful color images for his archival, giclée prints.

Wild Heart Gallery plans a grand reception beginning at 6:00 pm on Saturday, February 14, 2004 for the public and art enthusiasts, collectors and the public to enjoy light refreshments, good company and fine art.  All are welcome!

Wild Heart Gallery is located at:
Hozho Center
431 Highway 179, (Suite B)
Sedona, Arizona
Phone: 928-204-1222
Email: Wyotrad@aol.com

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Marv Poulson to Exhibit at ArtFest 5th Avenue in Scottsdale, Arizona February 13, 14 & 15

This early-season Festival debuts over 200 national artists for the festival season.  Located in the Arts District of Downtown Scottsdale, home of galleries and picturesque storefronts, will provide the discerning Scottsdale art community the season's first showing of Photographer Marv Poulson's current portfolios. This three-day event, combining Fine Artists from across the country with food, music, and fun!  Admission to the festival is free.

Marv creates natural image color photographs of archival quality featuring natural abstract images, western landscapes, ancient rock art, and native wildflower close-ups. Marv works in natural light using 35MM and 4x5 color transparency film scanned at high resolution and high resolution digital cameras for creating natural original images. Using archival giclée printing techniques and materials, he creates luminous prints with full color and tonal depth on acid free, 100% cotton fiber paper. Every print is signed, numbered, titled for authenticity.

Marv will feature his beautiful fine prints of 'Fire on the Water' and 'Making Rose V' during the show.

Join Marv for a warm reception at ArtFest 5th Avenue.

Interested fine print collectors can see more of Marv's beautiful Natural Image color prints at Wild Heart Gallery, Hozho Center, 431 Highway 179, (Suite B) Sedona, Arizona, on his WEB Site: www.imagedancer.com

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Marv Poulson affiliates with Wild Heart Gallery, in Sedona, Arizona

Photographer Marv Poulson, Imagedancer, now affiliates with Wild Heart Gallery, Hozho Center, 431 Highway 179, (Suite B) Sedona, Arizona.

Marv creates natural image color photographs of archival quality featuring natural abstract images, western landscapes, ancient rock art, and native wildflower close-ups. Marv works in natural light using 35MM and 4x5 color transparency film scanned at high resolution and high resolution digital cameras for creating natural original images. Using archival giclée printing techniques and materials, he creates luminous prints with full color and tonal depth on acid free, 100% cotton fiber paper. Every print is signed, numbered, titled for authenticity.

Marv describes his approach to his art in this way: “Photography provides an expressive channel that transcends language in fulfilling a core need to share what I see as a blend with my reaction in creating natural images. I strive to engage the emotions evoked by the natural realm, especially the mystery or magical essence of light-play in the world. My pictures emerge through imagination and experience with the interaction between light and subject supported by a keen interest in natural history.”

The advent of digital print making enables a level of control, longevity, and quality long exclusive to black and white darkroom prints, in accordance with his membership in and adherence to NAIA (National Association of Independent Artists) standards. “I find digital giclée color prints increasingly satisfying with truly archival quality,