Modern & Contemporary Art

specialises in framed modern and contemporary art by 20th century artists


7 Fantastic Family Portrait Painting Ideas

Family members are such an vital part of life! Actually, it may perhaps be the most important aspect within one’s life. From parents to grandparents and kids to cousins, you probably have many members who make up your gorgeous family.

With these beautiful members of the family, you definitely want to remember every single one of them! After some time, you will grow with each other, build bonds together, experience great key events in your lives, and overall, love one another.

BuPeople now love turning their family portraits into artwork that can hang on wall for decades and be passed from generation to generation. It creates a wonderful impact and puts a smile on your face each time you walk by.

Want to commission a family portrait? See below 7 best Family Painting Ideas

  1. Traditional realistic style portrait painting
Custom Family Portrait Painting
Realistic style family portrait from photo

2. In Artistic Style

Artistic style family portrait from photo

3. In masterpiece

family art painting in masterpiece
Fmailly portrait in masterpiece

4. In pop art style

family pop art painting
Family pop art

5. In Francoise Nielly Style

family portrait in francoise nielly style

6. Illustrated family portrait

custom illustrated family painting
illustrated family portrait from photo

7. Custom caricature

caricature from family photo
Custom Caricature from photo

Family portrait painting is not a privilege of royal family, our price is affordable for everyone, please check our family portrait cost for your reference and order any style of family portrait painting from our professional artists easily in mediums like oil painting on canvas, watercolor, pencil sketch etc. They are perfect gifts for every occassions like birthday, 50th anniversary…

The post 7 Fantastic Family Portrait Painting Ideas appeared first on Paint My Photos Blog.

7 Fantastic Family Portrait Painting Ideas

Published by Delores Jackson, on October 27th, 2019 at 3:22 am. Filled under: UncategorizedNo Comments

Photography with Large-Format Cameras

Using a large-format camera, such as a 4×5, is a specialized field and the editors of this book have included some very worthwhile and knowledgeable information on the subject. The book has nine sections plus an appendix and covers subjects ranging from view cameras and accessories to exposure and film choice to close-up photography.

Many of the chapters are very basic and go photography tips early morning into great detail about the operation of view cameras. The opening section explains different types of cameras, such as the flat bed and the monorail, and the advantages of each. The next section covers camera movements such as swings and tilts and explains what each does for the final picture.

Throughout the book are detailed diagrams and charts explaining the procedures and operations. The film section has an extensive listing of the different Kodak films available in both color and black-and-white. There are charts that explain how to load sheet film and a two-page display of the notch system used with Kodak film.

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The filter section is detailed and extensive but some knowledge about using filters is needed to understand the information presented. Also, the section on close-up photography is very intricate and goes beyond the basic photography tips holding camera information presented in the rest of the book. This section would best be left until some practice with the view camera is obtained.

The book’s appendix shows a sequence of the view camera’s operations and reviews the basics explained in earlier sections of the book. All in all, this book is fine for someone who knows very little about large-format cameras, except for the advanced information as noted. Illustrations throughout the book show the outstanding photography which can be done with this type of camera.

Published by Delores Jackson, on October 11th, 2019 at 6:10 am. Filled under: UncategorizedNo Comments

Colorful Animal Paintings – 2019 New Art Design from Art in Bulk

Colorful Animal Paintings – 2019 New Art Design from Art in Bulk
See more new art here: http://shop.artinbulk.com/colorful-3d-dots-animal-art-c-1110_1121.html

Unique and original art design done by Art in Bulk artist team.
100% hand-painted colorful animal paintings on canvas.
Get colorful animal canvas art at 50% off now.
Watch the Video on YouTube: https://youtu.be/9N0wI52-Jck

The post Colorful Animal Paintings – 2019 New Art Design from Art in Bulk appeared first on Art in Bulk Blog.

Published by Delores Jackson, on October 10th, 2019 at 9:51 am. Filled under: UncategorizedNo Comments

Travel PSA in 1989

Baja, California, Ireland or Southwest Canyon Country – choose one of these three exciting destinations for nature, travel and landscape photography, and make 1989 your year to get the very most from your photographic skills.

Imagine a warm misty morning in Baja’s San Ignacio Lagoon. You and four other photographers are sitting in a rubber raft hoping for a shot of a California gray whale. All eyes are scanning the warm waters, looking to see if one of the other rafts has made contact with “friendlies.” Suddenly a gray hulk rises out of the water just five feet from your raft. An immense eye watches the frantic photographers switch from telephoto lenses to wide angels. As the distracted photographers focus, the hulk – a 30-foot gray whale – submerges and reappears on the other side of the raft, seemingly to mock the photographers. The game continues for almost half an hour while the mother’s calf and our other two rafts join the fun. An occasional groan erupts as one photographer after another realizes he is out film.

Whale close-ups are just a part of the wonderful nature photography opportunities that will present them selves on the PSA Baja trip in April. In June, you could be in Ireland – green, cool Emerald Ireland. Our PSA itinerary focuses on the back-roads of western Ireland and is properly paced for superb landscapes utilizing the dramatic lighting of early summer. In September, PSA offers you the classic southwest Canyon Country itinerary – incomparable landscapes with dramatic skies and balmy weather. These three exciting destinations are crafted around the best time of year, the right time of day, conscientious photographer guides, and best of all, the camaraderie of fellow PSAers.

You could do your very best photography on a PSA Close-Up Expedition because we travel as a small group of photographers each eager to work together to improve our photographic opportunities. Itineraries are paced to allow for changes in the daily shooting schedule based on weather and those serendipitious events that not amount of photography tips app planning can take into account. We are often up early and out late-perhaps enjoying a picnic – so that we can be where the pictures are during those magic moments – when the morning mist provides a reddish-gold backdrop to cavorting whales in Baja’s San Ignacio Lagoon; when a rainbow arches across a green-green, Fuji-chrome-green field pointing to a whitewashed cottage in western Ireland; or when Monument Valley’s exquisite sculpture garden glows with crimson glory as the sun sets. We capture such scenes by following the cardinal rule of professional photographers – f8 and be there!

One of the best reasons for taking a PSA Close-Up Expedition is that your travel companions and guide form an incomparable photographic support group. Expedition members vary greatly in skill level, but all benefit from the effect of being surrounded by other PSA-style photographers. watching others work yields new points of view. Discussions about exposure, compositions, personal styles and equipment keep meal-time conversation lively. Equipment failures and inaccurate meters are often diagnosed and corrected with the combined efforts of the group or specialized skills of the guide.

For nature photographers, Baja: Whales and Wildlife is a rare chance to photo-explore the rich coastline of Baja, California. The 88-foot Spirit of Adventure sleeps 30 passengers in 14 air-conditioned staterooms – big enough to be comfortable, small enough to get in close. Tom Johnson, the photo-naturalist guide, is president of the Whale Center and a veteran guide in these waters. Don Lyon, chief guide and outfitter at Close-Up Expeditions, will be along to help if group size warrants.

We cruise from San Diego to La Paz with frequent shore excursions to photograph elephant seals, nesting ospreys, marine bird rookeries and whale-calving sanctuaries at San Ignacio and Magdelena Bays. Here, our early April arrival is scheduled to coincide with that period when gray whale mothers and calves are likely to pay friendly visits to our three skiffs – at five feet, you’ll need your wide-angle lens to photograph these 35-foot leviathans.

Three days are spent island-hopping in the azure Sea of Cortez. Here we find a series of evolutionary oddities that have earned this region the “poor man’s Galapagos” appellation. Humpback, sperm and blue whales are also seen in these warm waters. After 10 days at sea, we spend two nights in colorful La Paz exploring the markets and busy fishing harbor and enjoying the famous sunset and wonderful seafood.

Emerald Ireland is a two-week focus on rural western Ireland, from Donegal Bay to Dingle Peninsula and Bantry Bay. We’ll use a small luxury coach for this trip so we can travel the single-track lanes and stop where we have the right combination of stone fences, whitewashed thatched cottages and emeraldgreen hills.

We fly into Dublin for a two-day orientation to that fair city, then head for tweedy Donegal, Sligo, Yeat’s Country, Connemara to Galway Bay, the Burren and Cliffs of Moher. South of Shannon, We focus on Dingle Peninsula and Bantry Bay areas. We’ll avoid the most touristy areas such as the Ring of Kerry, but work to develop personal images of Killarney’s Lakes.

Your photographic guide is John Baker, co-leader of the 1988 PSA English Country Life trip and leader of Wales: Land of the Red Dragon. John has recently emigrated to Idaho from the British isles. His studio in McCall is the center for camera club activities, audio-visual workshops, a newspaper column on photography, advertising work and a thriving stock agency. In short, John is the consummate photographer and always eager to teach as well as to learn. He scouted Ireland in 1988. John will also lead the three week English Country Life expedition which precedes Emerald Ireland. Why not combine the two for an exciting five weeks in the British Isles? With John to guide you on our carefully constructed photographic itineraries, you’ll photograph those behind-the-scenes images of rural and village life that escape most visitors.

PSA Southwest Canyon Country: Bryce, Zion, Monument Valley, Canyon De Chelly, Arches, Canyonlands, the Grand Canyon – the list reads like a who’s-who of geologic wonders. Close-up Expeditions has been making annual trips to the Southwest Canyons since 1980 and has developed planning and pacing expertise that puts the photographer in the right place at the right time. One example is our approach to Rainbow Bridge. The magnificent natural bridge (so tall the U.S. Capital building could be passed underneath) is reached by a 50-mile boat ride on Lake Powell. To beat the ordinary tour groups, Close-Up Expeditions uses speed-boats and arrives at the arch while the morning light is still dramatic and before the party boat disgorges 50 to 60 scene-cluttering bodies. The rest of the day is spent photo-exploring narrow sandstone canyons and the incredible fantasy world of red-rock, blue-sky Lake Powell. The photographic experience is sublime, but getting there is at least half the fun.

Guides for this trip are Don Lyon and professional photographer Geoff Mason from New Zealand. Geoff has been in charge of the Close-up “down-under department” since the 1986 PSA New Zealand spring trip (see PSA Journal, June 1987 article by Betsy Giouard). Those who have seen Geoff’s audio-visual programs will know he is a natural for the stunning monumental drama of the American Southwest. It will be an education to observe his fresh vision of scenes familiar to most of us.

It is a smart traveler who asks, “What are the qualifications of the company organizing the trip?” I’m Donald Lyon, owner of Lyon Travel services and operator of Close-Up Expeditions. I’m a 10 year member of PSA and compete in Oakland and Berkeley Camera Club.s We offer photographic adventures all over the world and, with PSA Group services, designate three each year as PSA Close-Up Expeditions. For these trips, the commissions that would normally be paid to travel agents are paid to the Society, so by taking a PSA Close-Up Expedition you make an important financial contribution to PSA at no extra cost to you.

An important fact to keep in mind when you consider a PSA Close-Up Expedition is that photographic adventures for PSA-style photographers are our only business with every detail planned from the photographer’s point of view. We scout the itineraries and chose hotels and services based on obtaining the best photo opportunities. The fact that many of our clients travel with us every year encourages us to think we are on the right tract. We’re out to convince you that our tips are the best you have ever taken. some make that conclusion during the tip, others don’t realize it until after they review their slides.

PSA Close-Up guides are experts at helping you get your pictures. For the most part, they are professional photographers and skilled teachers. Each guide retains a great deal of control over day-to-day activities so| weather conditions can be used to maximum advantage. an added bonus on all Close-Up Expeditions are the Field Notes, an eight-to-ten-page report, completed by the guide, giving a day-to-day account of subjects photographed and other group events. You’ll find them invaluable when you are sorting and labeling slides.

Group size is also vitally important on PSA Close-Up Expeditions. More people mean more wasted time and less flexibility in taking advantage of surprise weather conditions and unscheduled events. Therefore, PSA Close-Up Expeditions are strictly limited. Many take only five to seven photographers, using vans for transportation. others, such as southwest Canyon Country, are limited to 14, with two guides and tow large vans. Emeral Ireland uses a coach and limits the number of participants to 20. Baja: Whales and Wildlife is limited to 30 so that half the group can be out in the skiffs at any one time.

Published by Delores Jackson, on October 6th, 2019 at 11:58 pm. Filled under: UncategorizedNo Comments

Product photography tutorial

I’m going to show I’m gonna show you exactly how I do this shot, step by step, all the components in the lighting. Stick with me to the end of the video and I’m going to give you a little bit more information about that photograph.

So what I’ve done here for this wine shot is just use the nice piece of walnut wood surface, a couple of old rustic ropes hanging in the background a piece of leather hanging in my background, another piece of rope from the table just to set the scene… to give the right tones and warmth and colours to the shot, but you’re right there are a lot of lights in this picture. If we start at the back, I’ll talk you through what we’ve got set-up. I’ve got this P-70 reflector with a medium honeycomb grid which is casting this glow of light that you can see here just grazing up there just to put a glow of light behind my bottle. “Additionally with an orange filter?” Yeah just got a little bit gel on it… just a slight warm up gel. a slight orange tint again just to create that mood and atmosphere. You’ll see l’ve got the same on this one. I’ve got a little Pico light with a Fresnel adaptor on the front with the yellow and that’s just to add a little light onto these ropes adding a warm color.

photography tips on instagram

These ropes will be very much out of focus because I’m going for a very shallow depth of field. F3.2 … and my 3rd background light, I’ve just got a projection attachment adding a little bit more light on the rope here. This could have been a fresnel with another honeycomb but I just happened to have one of those to hand so I’m using those two Pico lights and this P-70, that’s the background illumination.

If we move round to the main light which is this big softbox. We’ve got the 120 X 80 softbox, which is the main light on the bottle and the main light on the label. Then I’ve just put a little block of wood here, just to reflect some of that light off that white surface back onto the shadow side of the label. “It’s that small that it only hits the label without creating more highlights in the glass?” Exactly, because if it was a big tall reflector, I’d have another stripe of light down the bottle.

So this just restricts it to the label area. Then over the top, another P-70 with a very tight honeycomb grid and that’s creating just a little pool of light in this area so that gives a nice vignette running out here to keep that nice vignette running out here to keep that atmosphere to the shot. Then finally over here I’ve got a Siros light, that’s the great thing with broncolor, it’s all compatible with each other so I can mix and match, I’ve got Pico lights, Siros lights, Scoro lights, Uni lights… doesn’t really matter but you can see here I just put a red gel on this light – shining it through some diffusion material and this is just to add a little line of red light down the side of the bottle because what I find with red wine is I find with red wine is you never see the red because it’s really black! So this just hints that red into the bottle and into the glass and the glass of wine as well. So I think what we’ll do is I’ll start taking the picture from the back first from the background and then we’ll build it up one shot at a time…

photography tips plus size

Light by light. So let’s switch off everything… except the P-70 that’s grazing the background and we take that first shot. This should just be the background. We can see there, nothing else visible only that background glow. So now I’ll add on one of the Pico lights which is the lights that’s illuminating the rope from the right-hand side. That’s just little bit of catch light on that rope. Next is to add the Siros light in which gives the red glow down the side of the bottle.

There we go that’s a nice the red catch light down the edge of the bottle. We now put on the softbox… OK – here’s something I don’t like with bottle shots and a softbox. They can work really nicely if you want a hard edged line. You see this very defined edge line here from the big softbox but I prefer it if we can soften that a little bit. So what I do is use I piece of scrim, tracing paper. I’ll bring this in front to the softbox. We’ll need to turn the softbox light up pull that back a little bit and we’ll We’ll need to turn the softbox light up a little bit and power to compensate for the reduction in strength from this scrim.

Now with the diffusion material We’ve got a lovely softening… It just takes that hard off the softbox. I wanted to create this vignette of light effect here, so I need to create a pool of light. What I’ve done is just with the P-70, with a very tight honeycomb grid is put that above the bottle to add a pool of light. We should finally finish the picture off. So just a subtle little extra detail on there. Fllicking between the two we see without and with See how much atmosphere it adds to the shot. It also adds a nice little catch light to the top of the bottle. Very happy with that as we managed to put it all together in a short space of time:-) Thanks for watching! Let’s take a look at the photograph again… just to reiterate a few points. You can see this glow of red light that I’ve got shining down the side of the bottle here… I used the red light just to add the impression of red wine. Bottles of red wine always come out solid black and by using the red light it just conveys that message of red wine.

If we also look you can see some of the red light is glinting in the glass and refracting through the glass which I find is a nice touch. One of the most important lights in this shot is actually the light that’s coming down from above the bottle creating this glow on the wooden table surface. It’s isolating the bottle from the background surface that it’s sitting on. It is also responsible casting those short shadows because that light is coming from above from slightly behind it’s also the light this catching the top of the bottle cap.

You can see the light down the side of the bottle – the main key light from the big softbox. You can see how the edges of that light are nicely feathered because I use the diffusion roll material in front of that light source. That’s what’s giving it that feathering rather than hard stripe which is what I prefer on my bottle shots. Then you can see the light on the background, the glow on the background and the independent lights with the colored gels on the ropes and the small props and it’s just worth pointing out one more time there isn’t many props here we’ve got the background material a couple of ropes and a wooden surface but it’s point adding those extra little props and thinking about your surface and your materials that really enhances the mood of the shot and sets the scene to help the product shot work.

I hope you enjoyed that short tutorial, thanks very much.

Published by Delores Jackson, on September 4th, 2019 at 12:10 am. Filled under: UncategorizedNo Comments

7 iPhone Photography Tips

Do you know what the best camera is when you come on a great photograph? It’s the one you have in your hand. And unfortunately, all of us have a camera on our phone in our hand most of the time. So, it’s crazy not to understand how to take your phone and make it into a better tool, a better camera than just pointing and shooting. And we’re gonna go through some principles that will teach you how to do that, to give you some tools to make some better pictures on your iPhone or your smartphone using an app VSCO or the portrait mode on your iPhone. Here at “The Slanted Lens,” we’re really big on business.

So get over to theslantedlens.com and buy our business downloads. It’s 16 segments that will help you shape your business, plus it comes with a group call in once a month with me where you can ask all your questions so get over to theslantedlens.com today. Hi, this is Jay P. Morgan. Today on “The Slanted Lens” we’re downtown here at the Disney Concert Hall. We shot down here a lot. I’ve got Jenny here with me. She’s fabulous. We’re gonna take some pictures with her iPhone on a new app called VSCO. I’m using VSCO because it’s a free app, it’s a great place to start. It starts to give you a control of your phone.

It helps turn your phone into a camera not just something you point-and-shoot. That’s what you want, the ability to create better color because you have white balance capabilities. You’ve got a shutter so you can change the shutter so you can blur or you can freeze a shutter better. It gives you more control over your image. Let’s look at seven design principles that will really help your images look so much better using leading lines.

Using the rule of thirds. Look for natural light. Use strong negative space. Use that frame within the frame, good for great color contrast, and last of all, great texture. So, let’s relate these seven design principles to their app we have on our phone. I’ll use a few shots also in the portrait mode in the actual camera on the iPhone because I love that because it has a shallow depth of field and I like that look as well. The reason we chose these seven principles is not because they just relate to the iPhone, but because your iPhone you’re shooting that smaller format and most people shoot very busy pictures. We want you to simplify your pictures, make them more design-oriented. So, let’s look at these seven design principles using the app VSCO on our iPhone or your smartphone. Let’s get started see what we can do. So, leading lines just give you that they lead it into your subject matter or they can converge on your subject matter. They just give you a strong design element that makes your image a lot more interesting.

These are simple leading lines we don’t want to be very busy we want just be a very simple line that leads us into our subject matter. So, I let those lines just kind of come right across your head here so I’m gonna get in really tight let those lines gonna come right and almost dissect your head. Even the sidewalk is working really well so look past me here Jenna, like in there. There you go. So, those lean lines are supposed to direct the viewer to my subject matter.

I like those leading lines to come in from the camera left side and come up to my viewer because that’s a natural kind of progression. You look from left to right so those lines kind of sweep in from the left and come to my view, to my subject matter on the right. I like that. You can push against that natural viewing tendency, but I don’t think it flows as nicely to go from right to left, but those leading light should lead us into our subject matter. It’s a strong design concept to get your subject matter to the right or the left of the frame that’s rule of thirds. Get them in one of those corners. Don’t center your subject matter all the time.

Get them over in the corner. It’s much more interesting. And those leading lines are gonna push people right back to your subject matter. That’s the kind of thing we want. Okay. So, I’ve got Jenna right in the middle of my frame here. I’ve got leading lines all over the place but they’re not leading us anywhere when I center her like this. But if I push her over the left, I have her look over her right shoulder just out a little bit. Not that much, Jenna. Come back just a little more to me there you go right in there. Now, I’ve got those leading lines I’ve got to hurt my upper right hand corner. They lead into her face she looks back it pushes us back to the beginning of the viewing experience once again.

On the app, you can click on it to give you the rule of thirds. It gives you the cross marks to could help you understand where to put your subject matter, and to design the frame a little better. I think that’s a great thing to turn on and to use. So, this is really pretty natural light. I mean, we got the sun. It’s a little hard on her face but it’s starting to get just on that building there so starting to soften a little bit. It’s also bouncing out of that building the background giving me a rim on her hair, which looks wonderful. So, I’ve got this big sky soft light here natural light. I want my subject to be looking that direction. If I turn her around, she’s gonna be completely silhouetted in shadow. I want her looking into that soft light because right now it’s soft enough that it gives me a really beautiful luminosity on her face, but doesn’t overpower her, doesn’t create heavy shadows, just really, really pretty.

quilt photography tips

So, a lot of this is time of day. The sun is low. It’s just beautiful magic hour, but the reality is, if you look around even at sun straight up in the sky ,you can find a beautiful pool of light where it’s bouncing off from a building, where in the shade and it’s reflecting back in. You can find natural beautiful light everywhere you go. So, you can work on that thought natural occurring light is what we’re after. So, we’re gonna go on to our next spot. Negative space is such a strong design principle because it gives you a way to isolate your subject, gives you a way to put them on a field that makes them so important in the frame by giving them all this negative space around them. Or a huge negative space that points our viewer to your single figure. People always look at people. So, you can use this large open empty space and then you have a small figure on the horizon, people look right to that because it becomes a strongest prevalent piece in the image.

This is really a lot of negative space here. I just learned this kind of…foreground kind of envelops the viewer in the front and then gives us a nice negative space payoff of her in the background. They’re looking out into that natural light. I love the focus on this app because I can choose what’s in focus and so I’m gonna put her in focus right at the top of the stairs and it looks great. Fabulous negative space. We got all of this great area, just see her little silhouette in the bottom and that gives us just a wonderful look.

So, it’s kind of a frame in a frame in a frame. I mean I’m framing her in the doorway she’s looking at me in the doorway. So, we got that frame in a frame what that does is it calls attention to the subject matter. You create a frame around what you’d like the person to look at. It’s way to direct the viewer. This is what I want you to see. So, we’re doing a frame in a frame. It looks really pretty. So, our next principle is color contrast. Here, we got a great green carpet. We’ve got beautiful natural soft light so it just gives everything I just a really even kind of look.

photography tips quotes

But she stands out against that green grass because she’s got that caramel sweater on. She got the orange and just gives her especially her black hair against that green. Just gives great color contrast makes for a startling image. Now, it’s simple though because you got a big field of green with her against that green, so it looks really nice. Texture is really an interesting way to apply a simple background in a complex way. So why do we use texture? Texture are patterns. Patterns that we find everyday in life that are going to give us a contrast to our subject matter. Texture can be dangerous if it becomes too overpowering, but if used correctly, it really gives it a lot of depth and interest of the image and helps stand our subject out from the background. So we just got great texture here. Texture of the whole broad in the background. It helps her she got the color contrast there as well as the white texture in the background and she stands out two different ways here.

You got the texture and you got the color contrast. It’s just a beautiful setup here. And also I took the lines. I didn’t square them up, I put them on an angle so that they’re looking off and it kind of leads out. You can combine many of these principles to make a great image but our goal is to make simple images not complicated images. So combining a lot of them that makes it complicated it’s probably the wrong thing to do. But combine simple principles to give us a beautiful strong designed image as our goal. When you’re using strong design principles, it’s pretty easy to tell if your image looks good, because in that small little thumbnail that you’re looking at in the VSCO app, it’s gonna show up and look good in that because strong design principles usually means simple clean images and you’re going to see it almost immediately.

When you blow it up, you can look at them a little further for…or her eyes close or her eyes open. But if they look strong and they look good in that little thumbnail, it’s probably a pretty strong image. So, next in this process is editing on the iPhone. We’re gonna do that as a separate lesson so we can come back and really show you the process of getting in and editing each of these images, using the presets that are already in the application or just getting in and in the raw being it’ll change the saturation.

Do some of the things will help make your images look stronger. Editing becomes just about as strong a process as shooting, and in the end, is gonna give you a much better result. So, there you have it with that free app from VSCO and with the camera on your phone, there’s no excuse why you can’t take great pictures if you apply some good design principles. So, when you take great pictures with your iPhone, get on our Facebook group, post them so we can see them. See what you’re doing. See what apps your are using. See how they’re turning out. We wanna know. Also, you can always hashtag us at The Slanted Lens on Instagram. We want to get those hashtags #Jaypsbananasocks, #keeponclicking #theslantedlens, #hashtagshashtags, #hashbrownshashtags.

Then we also have Jenna with us. Jenna: Hey. Yes, you can follow me on instagram @JennaWalasek. Jay: So, keep those cameras rolling and keep on clicking. It’s March and we’re giving away a camera on 35-millimeter one point lens. This is an Instagram contest so you got to get over to instagram. Follow us The Slanted Lens on Instagram and Tamron and that enters you to win. You could also in the comments tag a friend that’ll help you win as well.

You can also do a story saying, “I’m about to win this awesome lens.” And tag Tamron and The Slanted Lens and that’ll entry to win as well. And last of all, you can go to theslantedlens.com and give us your email. That will help you win as well. So, get out there tag, follow, email, tag, follow, email, tag, follow, email, and win this lens. [00:09:51] [Music] [00:10:07].

Published by Delores Jackson, on September 2nd, 2019 at 10:16 am. Filled under: UncategorizedNo Comments

Charcoal Portrait – Turn Your Photo into Beautiful Charcoal Portrait

Published by Delores Jackson, on August 30th, 2019 at 3:31 am. Filled under: UncategorizedNo Comments

How do Art Commissions Work?

How to do Art Commissions?

Let’s start out with getting some important stuff out of the way when you Commission an artist.

1, Please have your photo/design ready and please do not shade it or if you do shade it, make this shading minimal. It makes it really difficult to color pick and pay attention to details and the artist may sometimes mistake shading for actual markings on your portrait that they think they need to draw.

2. Find the artists who take art commission job. Do your best to describe what the painting you are after.

Please specify them while working out your order, like if your portrait to be in realistic style or artistic style and you want the artist to use oil, pastel, acrylic or do they have to remove any subjects on the background. Or, if they have special markings are an accessory that you really want them to take note of. It’s a lot easier to just state it before the artist starts instead of having them change things after they’ve completed your Commission. This is probably the most important point.

Please have the money ready before you place an order. Here at Paint My Photos, we accept 20% deposit first and pay balance before shipping. It is helpful because you can only pay a certain amount at a time to start, but please do not contact us for a commission until you’re absolutely positive that you can pay.

custom painting from photo

Art in general takes time and the artist is going to want to take their time on the piece to make sure you’re satisfied with it. Keep in mind that it’s always a nice gesture to tip an artist. Tipping the artist makes them keep you in their mind more than the other commissioners and may also make them prioritize your commission since you paid extra when you weren’t required to tipping the artists will not only benefit you but it will also benefit the artist which is a win-win back.

On the topic of details if an artist finishes your commission in your quest a few tweaks, so I think that they have the right to start charging you a few dollars extra after multiple free ones at that point you’re basically getting a new revamped Commission. So I think charging your fee for changes after doing review for free is acceptable. However, at Paintmyphotos gallery, we offer unlimited revision for free. You don’t need to pay any extra cost. keep in mind that an artist has a right to decline your commission for any reason they may have. If they do it then the best thing to do is understand and move on and find someone else to Commission. More likely, you won’t be able to change their mind, respect the artists sensitivities and guidelines to their Commission’s if they don’t accept things like not-safe-for-work or certain species like animals are MEXT, then please don’t ask about it and don’t try and negotiate with them they have their reasons maybe they’re not comfortable drawing and said things or maybe they just don’t have enough practice with drawing certain things so they don’t want to be paid to draw and make something not worth the money, just respect their Terms of Service and you’re good to go.

House Painting from Photo

Please respect the amount of money an artist is charging for their work, people tend to forget that you’re not only paying for the finished product but the artists time work services and effort as well. They’re charging what they think is reasonable amount for their services whether you agree with the prices or not, either save up or just don’t comment on it and move on and find someone else to Commission.

Back on the topic of references, sometimes more than one reference can be helpful. I mean that is that if you have more photos of the figure you want us to paint, please send them as well, it is definitely not required but sometimes it’s really handy for artists to see more details and information on the figure.

I think that those are really the only basic things to keep in mind when commissioning an artist. All these tips were based off of our experience with customers.

Please check our commission painting price if you want to commission a painting from us.

The post How do Art Commissions Work? appeared first on Paint My Photos Blog.

How do Art Commissions Work?

Published by Delores Jackson, on August 27th, 2019 at 7:43 am. Filled under: UncategorizedNo Comments

Las Meninas Velazquez – Why Is This Painting So Captivating?

Published by Delores Jackson, on August 23rd, 2019 at 11:22 am. Filled under: UncategorizedNo Comments

Where to get a portrait painted?

Where can i get my portrait painted?

If you want to find out where to get a portrait painted. You come to the right place. As there are so many companies offering custom portrait service, but how to find one with great quality and reasonable price?

In this article, i am going to show you some reasons why our customers choose us to do their portraits.

  • We are artists based gallery, you direct order from professional portrait artists. No middle man, which means you can save at least half of the cost!
    You may want to check our another article: How much does a portrait painting cost
  • We can paint your portrait in any art styles, for example, realistic, impressional, Francoise Nielly style etc. You have wide range of choices to make you portrait an unique and original masterpiece.
  • We send photo of finished painting for approval, 100% satisfaction and money back guaranteed. If you don’t happy with the painting, you get your money back. It is no risk at all to order portrait from PaintMyPhotos.
  • Only 20% deposit to start
  • We can do any mediums, oil, acrylic, pastel, pencil, color pencil, watercolor…
  • Over 10 years in photo to painting business with rich experience in custom portrait from photo.
  • Because of the talent and creativity of our artist team, we are also the secret weapon of many top art galleries and interior design companies.

Where to get a self portrait painting done?

Please check our painted family portrait paintings or charcoal portraits. If you want to get a portrait painting done, feel free to contact us.

The post Where to get a portrait painted? appeared first on Paint My Photos Blog.

Where to get a portrait painted?

Published by Delores Jackson, on August 8th, 2019 at 2:32 am. Filled under: UncategorizedNo Comments