Friday, July 31, 2009
Tuesday, July 28, 2009
Yesterday morning I met up with a couple fellow photographers for a morning walk and shoot in Newnan, Georgia. We decided to meet extra early. When I left the house – it was dark. On my way I saw a fawn (still with spots) crossing the road and further down the road a doe grazing by the roadside.
Newnan is a very nice little town. Recently they have achieved notoriety as a “City of Homes.” There are many beautiful, old homes in Newnan.
I was more interested in the town. Early in the morning – reflections are excellent. I love taking photos of reflections without the glare of midday sun. We started early – 6:30 and finished by 8:00. That is my favorite time to shoot.
Here are a few of the photos:
Sunday, July 26, 2009
Saturday, July 25, 2009
Friday, July 24, 2009
Tuesday, July 21, 2009
Sunday, July 19, 2009
Friday, July 17, 2009
Wednesday, July 15, 2009
Updated: July 15, 2009, 10:39 AM /
It may be easier to ask forgiveness than to get permission, as the famous old quote goes, but many find that it is even easier to be hauled into court. Such is the situation artist Shepard Fairey finds himself in.
Fairey is being sued by the Associated Press and photographer Manny Garcia for using a published AP photograph of President Obama to create the iconic “hope” poster. Fairey claims use of the photograph falls under the protection of the “fair use” provisions of copyright law.
Trained at the prestigious Rhode Island School of Design, Fairey was already an accomplished artist and designer. But this pedigree doesn’t exclude him from the common and accepted practice of using photographs as studies.
Garcia, for his part, has suggested in published reports that his lawsuit isn’t about money but recognition, saying, “I just want Shepard Fairey to say, ‘all right, you’re the guy. Thank you.’ ”
Both have compelling arguments, but I wonder if this might have been avoided entirely had Fairey just picked up the phone.
Years ago I had a heated debate over “fair use” and copyright law with several artist co-workers. I researched the issue and unearthed the case of Jeff Koons, an artist who was sued in the 1990s by a photographer who claimed that Koons used the photographer’s work to create a sculpture called “String of Puppies.”
The photograph, a black-and-white postcard print of an elderly couple showing off a line of pups, was quite damning when compared to the sculpture, and the courts agreed. Though Koons’ lawyers claimed “fair use,” the court found that the similarity was so close that it could be construed that the sculpture was a copy of the work.
I contacted the photographer, Art Rogers, via e-mail. He replied that, at the time, he attempted to contact Koons but that he would deal only through lawyers. Rogers added that if Koons had just spoken with him directly, the case likely would not have proceeded.
That e-mail conversation colored my own artistic ambitions. As an artist without formal training I started out using published photographs as models for my own work as a woodcut printmaker. It was after an exchange with a customer at an art show that I understood the importance of seeking permission from photographers.
I introduced myself to a woman studying a print of two Adirondack chairs by a lake at sunset. She said, “I love this print.” I beamed until she added: “I’ve been making photographs of two Adirondack chairs in different settings for years. It’s such a coincidence.”
That day I was introduced to flop-sweat, and I’m not a fan. Not because I felt she was a legal threat, but because I’d stolen someone else’s work without permission and I felt awful.
On the flip-side, when my wife and I started working art shows, we were deeply under the influence of the early 20th century graphic design of Roycroft artist Dard Hunter. We chose a modified version of one of his drawings as our logo. Thinking it good manners, I located Hunter’s grandson and requested permission to use the design. He replied cheerfully that “most people wouldn’t bother to ask,” adding that his grandfather would be “tickled” to give permission to lovers of his work.
And so, I am left pondering the state of civil suits: Perhaps there would be fewer suits if we were all just a bit more civil.
By Jeffrey Dean
Tuesday, July 14, 2009
Monday, July 13, 2009
Saturday, July 11, 2009
Friday, July 10, 2009
Wednesday, July 8, 2009
Here are the instructions for Photoshop Elements:
Create a blank document (File>New>Blank File) in RGB mode choose a resolution (I set mine to 150). Select 'background' in the background contents pull down menu. Click OK.
Click on the foreground color in the left hand toolbox. Select a gray – click OK. Then click alt/backspace to fill the new, blank item with the gray color you just selected. Press “D” to set the foreground color to black. Press “T” to switch to the horizontal type tool (if your type tool is not set to horizontal, right click on the tool and then select horizontal version). Choose your font/size from the menus at the top of the window. For alignment – choose “center.”
Click the cursor on the background and while holding the alt key type 0169 to give you the copyright symbol. Remember if you are using a laptop you will need to use your function key and the number pad that is kind of hidden in the keyboard. The numbers across the top of the keyboard won't do this. For a trademark symbol you will type 0174. Press Enter to get to the next line to type your name or keep the whole mark just one line. If you need to adjust font size – highlight the name or symbol and use the menu at the top to change the font size.
Click the eye on the background layer in the layer palette to hide that layer. Go to your effects palette and from the drop-down menu choose “stylize.” Double click emboss. You can also get here from going to Filter>Stylize>Emboss. A window will ask if you want to simplify the type – click yes. Set the angle to 135, height to 3, and amount to 100%. In the layers palette – click on “lock transparent layers.” In filters choose Blur>Gaussian Blur – select 2 or 3 pixels. Back in the layers palette click on the drop down menu and change from normal to hard light.
To create the special brush tool – while the watermark is open, click on the brush tool then go to Edit>Define Brush. Give your brush a name. I gave mine "copyright" and I have one that is named "trademark." It will save as the last brush on the list that is open (I suggest “default”). Then when you wish to place the mark on a photo – open the photo – select the brush tool and select the brush you created and stamp it on the photo. Be sure to adjust the size of the brush to fit the photo.
Saturday, July 4, 2009
‘It’s a Daisy’ black and white Lensbaby image printed on canvas gallery wrap (daisy)
‘Purity’ black and white floral macro (rose)
‘The New Dog’ color macro
‘Charleston Weekend’ black, white, and orange floral macro (daisy)
‘Emilie’ black and white image
‘Pop’ digital art from a floral macro (daisy)
‘Line Creek Path’ color Lensbaby image (Peachtree City, GA)
‘The ARC’ black and white image, digitally enhanced (St. Simons Island, GA)
‘Carl’s is Closed’ black, white, and blue image (Fredericksburg, VA)
‘Followed by a Spoon Shadow’ black and white macro (from the Kitchen Series)
‘Self-Portrait’ digitally enhanced portrait triptych
‘The Old Kitchen’ black, white, and red image (from the Kitchen Series)
‘Opening Dance’ black and white botanical macro (sunflower)
‘Is the Devil in the Details?’ black and white Lensbaby image (Methodist Church, Senoia, GA)
‘Jelly’ black and white digitally enhanced image (Georgia Aquarium)
‘Opening Night’ black and white long exposure (Fayetteville, GA)
‘Prince’ black and white image printed on watercolor paper and hand tinted with watercolors
‘Peachtree’ black and white image (Pike County, GA)
‘Pleated’ black and white macro
‘Bonsai’ black and white Lensbaby image (Panola Mountain State Park)
‘Top of the Tower’ black and white Lensbaby image (Methodist Church, Senoia, GA)
‘Rosebud’ black and white