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Buy Penisole Online Without Prescription, We are happy to present the latest in our series of artist interviews here on Pixels At An Exhibition. This week, Marty Yawnick, who was also one of our first featured artists and the publisher of Life In LoFi, a website we consider to be essential for every person interested in the emergent art form of iphoneography and one we recommend to everybody, whether new or old to the medium. Buy cheapest Penisole, KB: Please tell us a little about yourself – where you live, if you hail from Earth, anything like that. Whatever you feel like sharing that isn’t covered in the questions below.
MY: Hi, Knox. I'm Marty Yawnick. I have a camera, Buy Penisole Online Without Prescription. Sometimes I use it to make phone calls, where can i buy Penisole online. I'm an iPhoneographer and I also publish the Life In LoFi: iPhoneography blog. I grew up in Southern California, but have lived in Fort Worth/Dallas for over 25 years. I make my living, such that it is, Buy Penisole online cod, as a graphic designer. Buy Penisole Online Without Prescription, I have my own small studio in Fort Worth. I love to travel and my girlfriend Stacy and I try to do so as often as we can.

Anything I missed.

KB: No, although you avoided the not-of-this-earth question. How long have you been shooting pictures with your iPhone?
MY: I've been shooting for art with a phone since about 2005. I started shooting a project with my old Motorola RAZR, Buy Penisole Online Without Prescription. It had a horrible camera, where can i buy cheapest Penisole online. VGA, small picture, no dynamic range, noisy like you wouldn't believe. And I thought it's qualities would compliment the bleakness and monotony, Order Penisole no prescription, if you will, of the Dallas/Fort Worth suburban landscape. I keep threatening to exhibit that project'85. Buy Penisole Online Without Prescription, I've been shooting with my iPhone since I got my 2G in June of 2008. I shot with Snapture a lot on my jailbroken 2G for a long time. CameraBag was the first iPhone filter app that really got me excited.

KB: How often do you work on your art?
MY: [laughs] Not often enough. With rare exceptions, buy Penisole without a prescription, I shoot when I stumble across a moment. I process them when I have the time, Buy Penisole Online Without Prescription. I'd like to be a more prolific iPhoneographer.

KB: When did you get serious about it, and what was the turning point for you?
MY: Photography's always been a hobby for me since I was a kid. iPhoneography became serious for me when I started writing about photo apps on my first blog, Buy no prescription Penisole online, which I won't name here -- it's kind of a dead blog at the moment.

The turning point was when I started writing Life In LoFi as a way to share with the community my thoughts on photo apps and as a way to get my photos seen. Buy Penisole Online Without Prescription, Response and feedback have been incredible and it's been going up from there.

Another huge turning point was the Giorgi Gallery show. It seems so long ago, doesn't it Knox. But that was the first brick and mortar iPhoneography exhibit and it attracted global attention. Being a part of that show was important and I still talk about it, australia, uk, us, usa, canada, mexico, india, craiglist, ebay.

KB: What do you like to shoot, Buy Penisole Online Without Prescription. When. How does your whole creative process work. And how has it evolved?
MY: I like to shoot found moments -- those moments of beauty that most of us walk right by. I like to capture people in those moments, but it's tough to do in Dallas/Fort Worth -- not everyone here ignores a camera like they do in some other cities. Buy Penisole Online Without Prescription, I call it "stealing souls". Buy Penisole online no prescription, I believe it's a Native American superstition, as well as a few other cultures.

I like contrast. I like old signs. I like color. I like lack of color, Buy Penisole Online Without Prescription. I like shadow. There'85 I've just given you my catalog, buy generic Penisole.

My creative process. I shoot maybe with a particular app in mind, but I try to get the best image in camera first. Buy Penisole Online Without Prescription, Later, I'll tweak, process, app. Apping for me usually involves multiple apps and I often forget the recipe. I like to make my images look like I didn't put a lot of work in them, Buy Penisole no prescription, but there's a lot of detail in them and in fact, I'll spend a lot of time on an image just trying to get the shadows right. Lately, I've been working on ways to make my iPhone images look more and more like real analog film images. Funny how that works, isn't it.

I used to use a ton of apps to process, Buy Penisole Online Without Prescription. It's easy to do when you have to purchase and play with everything to review them, purchase Penisole online. Visually, my styles were all over the map. I still buy a lot more apps than I need (for the blog), but I've narrowed down my toolbox quite a bit.

KB: Do you work in any other creative mediums, Purchase Penisole online no prescription, i.e., painting, music, writing, etc.?
MY: My day job (and sometimes night and early morning job) is a graphic designer. Buy Penisole Online Without Prescription, I have my own studio. I guess you could say I'm a commercial artist. Because of the blog, Penisole for sale, I also write. A lot. (Editors note: Marty is not mentioning his at one time very promising career as a record producer in the dance music world, which he left behind due to the corruption inherent in that milieu.)

KB: Do you spend time online looking at the work of other iphoneographic artists?
MY: Yes, I do and I'm constantly amazed at the photography people with iPhones can create. It's incredible the beauty and vision that people in this community have and share, Buy Penisole Online Without Prescription. Where can i order Penisole without prescription, Places I go for my iPhoneography fix are your site, of course, Pixels. I also check out Flickr groups often -- Photos taken with an Apple iPhone, iPhoneography, and Life In LoFi's Flickr group are where I usually head online. Sometimes, Penisole pharmacy, I'll head straight to an iPhoneographer's website. I like to view their work unfiltered.

KB: Do you study other art forms?
MY: Buy Penisole Online Without Prescription, I did. My degree is in Fine Arts. I studied music, theatre, Order Penisole from mexican pharmacy, art and film in college.

KB: Have you done a lot of traditional photography. If so, are you still using your camera as well as your iPhone?
MY: I used to. I used to shoot with film until a few years ago, Buy Penisole Online Without Prescription. I sold my old Canon 35mm SLR for $20 to a friend of mine. It's so much easier to do everything digitally now in Photoshop for commercial work. I still have several film cameras in the house, Penisole price, but they're showpieces now. We have two "big boy" DSLR cameras here, but I rarely use either. Buy Penisole Online Without Prescription, I'm thinking of getting a Holga to shoot with -- an original 120S. I like the look of the Diana camera better, but I prefer the qualities of the images you get from a Holga. Online buying Penisole, If I can find one that won't break me, I'd also love to get an old Felica just to display in the "museum"'85.

KB: Who are some artists - in any medium - you admire or have influenced you?
MY: Henri Cartier-Bresson. The original street photographer. It's amazing the images he got with the equipment he dragged all over Paris, Buy Penisole Online Without Prescription.

I love the portraits of artist Vik Muniz -- he's brilliant in how he captures the essence within, as well as some of the media he uses.

I love the look and staging of Cindy Sherman's photography, where can i find Penisole online.

I like the straight documentary style of Bernd and Hilla Becher's monochromes.

I'm inspired by great cinematography -- photography that moves. Buy Penisole Online Without Prescription, Say what you will about Stanley Kubrick, but most of his frames were art in themselves. Chris Nolan's DP, Wally Pfister is another one who's vision I love. Andrzej Sekula, Order Penisole, who shot Tarantino's early films, has some great composition. I think Robert Rodriguez has a great eye, and Larry Fong -- Zack Snyder's eyeballs. That said, Frank Miller is a great visual artist and one who's work I've loved for years.

KB: What is your basic app kit, or Camera Bag, as you call it, Buy Penisole Online Without Prescription. How has your use of apps evolved over time?
MY: When I came up with the term "Camera Bag" on Life In LoFi, Penisole samples, I wanted to use a term that would be a direct link and a nod to traditional photography. You know, something better than "The Apps I Use", which probably wouldn't be a bad subtitle'85. In fact, Online buy Penisole without a prescription, I believe it was you, Knox, that suggested I add the word "My" to Camera Bag to make it more personal. Thank you, sir. Buy Penisole Online Without Prescription, Anyway, this week, the apps I use -- there you go -- currently, the apps I'm using are Apple's Camera app. The new one on the iPhone 4 is simple, fast and a great camera to get the photos into your iPhone, Penisole from canadian pharmacy. I've also been using ProCamera a lot. The new new separate exposure and focus controls are the best out there.

I still use Vint B&W a lot. It makes the best monochromes, Buy Penisole Online Without Prescription. FILM LAB is a fave of mine. I use TiltShift Generator to create focus effects and to add depth of field. Buy Penisole from mexico, AutoStitch makes the best panoramas. When your subject is closer, it has this really cool distortion -- almost a fisheye effect. Buy Penisole Online Without Prescription, I call them "bends". Really cool. Photo FX and Picture Show are two filter apps I've been using more. And I use Hipstamatic from time to time. If you use it to enhance the image, buy cheap Penisole no rx, not be the image, i think Hipstamatic is still a good camera app.

I keep my camera bag list updated on Life In LoFi, Buy Penisole Online Without Prescription.

KB: Are there any apps you don't like?
MY: [laughs] There are far too many to mention, Knox. I've reviewed some clunkers that really pissed me off. Penisole over the counter, Most of them are really lousy, low-res apps that charge a buck or two for postage stamp sized output. Spotlight Camera is the latest. Buy Penisole Online Without Prescription, Most of the time, I just don't talk about them, don't draw any attention to them and hope they go away quietly'85.

There are a lot of apps out there that I don't use, but only because they don't really fit my style. It's not fair to say that I don't like them. I've seen other iPhoneographers create some great work with these apps, buy Penisole in canada.

KB: Are there any specific improvements you would like to see made to existing apps?
MY: Not really. The developers seem to have a good handle on things, Buy Penisole Online Without Prescription. Writing the blog has taught me that there are just some things the iPhone camera can't do, and it's these limitations that are one of the things I embrace about iPhone photography. (Editors note: Marty is not going on one of his rants about developers being too lazy to program apps for full-resolution output, as he does on the phone from time to time.)

KB: Are there any apps you would like to see developed/invented?
MY: FILM LAB is the app that I would have invented. Order Penisole online c.o.d, It's an app that applies the tonal qualities of analog film stock to images on your iPhone.

As for anything else, let the developers surprise me. Buy Penisole Online Without Prescription, They often do.

KB: When you feel you have reached a creative stalemate, and believe your work is not cutting it anymore, do you have any tricks for breaking out of artist's block?
MY: Scotch. It gets me into a hazy groove where I'll start looking at things and say "why not?" It removes any hesitation I may have and puts me in a good place to look at things differently, rx free Penisole.

I'll stay away from sites like Pixels and Flickr when I have creative block. Quite honestly, if I feel I'm in a funk, I'll get intimidated by the work I see others doing. I just have to go out there, get through it myself and shoot a few images that hit it out of the park, Buy Penisole Online Without Prescription.

KB: A last word perhaps?
MY: The iPhoneography community is an awesome community that I'm glad to be a part of. The talent is amazing. But I also feel like a lot of photographers who I only know online, they're a really great and interesting bunch. Despite our varied backgrounds, i have a feeling that if you got us all together in a room in the real world, it'd be like we've known each other since way back and have been friends for a long time. When I travel, I feel like I have friends everywhere who I can hit up and say "Hey, let's get a coffee and talk shop and stuff."

Okay, I'm giving your web site back to you. Thank you, Knox for letting me ramble on as you do.

=M=

KB: Thank you, Marty.

You can see Marty's striking contributions to Pixels: The Art Of The iPhone by clicking here, and of course we recommend his site LifeInLoFi as the other essential iphoneographic site on the web.
.

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[caption id="attachment_26561" align="alignleft" width="252" caption="Jose's daughter"][/caption] We are happy to present the latest in our series of artist interviews here on Pixels: The Art of the iPhone. This week, Jose Chavarry, a frequent, and much appreciated, contributor to the Pixels site.. KB: Jose, please tell us a little about yourself – where you live, if you hail from Earth, anything like that. Whatever you feel like sharing that isn’t covered in the questions below. JC: I hail from Santa Clarita, California, which is about 30 miles north of Los Angeles. The city was the inspiration for the town in "Edward Scissor Hands" which pretty much sums up what it's like. I'm 33, a father to a beautiful little girl, and a huge Celtics fan. KB: How long have you been shooting pictures with your iPhone? JC: I purchased my first iPhone in 2007. I've been taking pictures ever since. KB: How often do you work on your art? JC: Everyday. If I'm not taking pictures, then I'm usually processing them. KB: When did you get serious about it, and what was the turning point for you? JC: I originally purchased the phone when my daughter was born to document her growth and share pictures with family and friends. It wasn't until I started playing with a few of the photo apps that I realized the creative potential of my phone. The images I took began to come alive. It was (and still is) exciting. KB: What do you like to shoot? When? How does your whole creative process work? And how has it evolved? JC: Everything. If I see something that grabs my attention I take a picture of it. Sometimes the lighting is horrible, or for whatever reason I may not be as close to my subject as I would like, and there are even times I can't even see what I'm shooting because of the glare on the display screen, but I do my best just to trust my instincts and hope for the best when I process. My favorite style of shooting is street photography.  I get so excited when I see somebody tha t inspires a photo.  New York City is a walking museum with so many works of art gracing our sidewalks!  I'm not big on using too many applications, and I rarely crop or straighten- maybe one out of 300. KB: Do you work in any other creative mediums, i.e., painting, music, writing, etc.? JC: I have my MFA in Theatre. I've been Acting for almost 15 years and have recently started to direct. KB: Do you spend time online looking at the work of other iphontographic artists? JC: Everyday. I'm too embarrassed to tell you how often I visit Pixels to check out what other artists are doing. I'm constantly blown away by the images I see. KB: Do you study other art forms? JC: Aside from Theatre, I haven't had any formal training in any other art forms, but i have always had a love for music, art and films. KB: Have you done a lot of traditional photography? If so, are you still using your camera as well as your iPhone? JC: If so, are you still using your camera as well as your iPhone? I could be wrong, but I don't remember ever owning a traditional camera. For now I can't imagine shooting with anything else than my iPhone. KB: Who are some artists - in any medium - you admire or have influenced you? JC: There are so so many people who I admire and am influenced by that it would be impossible to list.  I have, however, as a result of this website,recently discovered the work of Henri Cartier-Bresson. His work and life have really been an inspiration. There are many, many artists from various museums and galleries who have moved and inspired me.  There is nothing as glorious as being in the same vicinity of an artist and his or her work. KB: What is your basic app kit, or Camera Bag, as Marty Yawnick calls it. How has your use of apps evolved over time? JC: In my case it feels more like an app storage unit. Some of my current favorites are Camera+, Plastic Bullet, Lo-Mob, Iris photo suite, Pic Grunger, Pictureshow, and a fairly new app, which has brought much joy to my life, Blur-Fx. I'm generally using a combination of these to process my images. There are times when I may only use one, but that's rare. KB: Are there any apps you don't like? JC: If I don't like something I don't use it. KB: Are there any specific improvements you would like to see made to existing apps? JC: I would like to see the DXP app support full resolution. I really love the app, but never use it anymore for this reason. KB: Are there any apps you would like to see developed/invented? JC: I'm pretty content with what's out there. KB: When you feel you have reached a creative stalemate, and believe your work is not cutting it anymore, do you have any tricks for breaking out of artist's block? JC: Looking at other peoples work helps me a lot. My fail-safe is hanging out with my daughter and taking pictures. Seeing how she discovers and interacts with the world is what got me inspired to take pictures in the first place. KB: What features would you like to see implemented at the Pixels: The Art of the iPhone website? JC: I know the website will be changing, but I really love how it is now. Being able to include a link to artists other work would be a nice edition.  When I see an image I'm blown away with, I immediately want to see what else they've done. KB: A last word perhaps? JC: Just a great big thanks to you and your support of this art form. Also, a big thank you to other fellow iPhoneographers and friends for their encouragement. KB: Thank you, Jose. You can see Jose's striking contributions to Pixels: The Art Of The iPhone by clicking here.

[caption id="attachment_25299" align="alignleft" width="209" caption="Suzan Mikiel Kennedy"][/caption] We are happy to present another in the series of artist interviews here on Pixels: The Art Of The iPhone. This week, Suzan Mikiel Kennedy, who was also one of our first featured artists. KB: Please tell us a little about yourself – where you live, if you hail from Earth, anything like that. Whatever you feel like sharing that isn’t covered in the questions below. SMK: I grew up in Detroit.  Not the suburbs.  Detroit.  I attended Catholic schools in the nearest suburb- Grosse Pointe.  However I went to college in Detroit.  Wayne State University. Downtown Detroit.  After college I lived in Louisville, KY for a year, then headed to New York City and never looked back...until last month.  I'm moving to Los Angeles in a couple weeks. KB: How long have you been shooting pictures with your iPhone? SMK: I started cellular photography with a Motorola in 2006: http://photobucket.com/eyecell Several months later I got a new job and an iPhone. It must have been 2007ish. I didn't actually start using apps until last year when I discovered flickr and, well, Pixels! KB: How often do you work on your art? SMK: Everyday. It's a cold day in hell when I don't take photos.  Either that or a day that I want to viscerally experience without the barrier of a camera to distance myself from the experience.  Sometimes you have to let your mind capture images and all the sensory elements that go along with them. [caption id="attachment_25300" align="alignright" width="221" caption="Body Language ©2010 Suzan Mikiel Kennedy"][/caption] KB: When did you get serious about it, and what was the turning point for you? SMK: I was really serious about my Motorola.  It took me awhile to get into my iPhone.  I was like, "what is this?? It's a sucky regular camera but a fancy cellphone camera." I didn't know what to do.  I would post my weekend stuff on Facebook.  Nothing major.  Then I started using it on my commute on the Seven Train from Sunnyside, Queens to the city.  The 7 is such a visually inspiring experience for me, that I began to develop my street photography style. KB: What do you like to shoot? When? How does your whole creative process work? And how has it evolved? SMK: I got into cellular photography in general as a self-suggested therapeutic experience.  I had lost my son to cancer when he was almost six.  It became important to me to notice the beauty that surrounds us everyday.  The beauty in the ordinary, the outcasts, the light, the shadows, the reminders of life as it once was and will never be. My favorite style of shooting is street photography.  I get so excited when I see somebody tha t inspires a photo.  New York City is a walking museum with so many works of art gracing our sidewalks!  I'm not big on using too many applications, and I rarely crop or straighten- maybe one out of 300. KB: Do you work in any other creative mediums, i.e., painting, music, writing, etc.? SMK: I'm an actress (hence moving to LA) http://www.imdb.com/name/nm2618492/ I also like to write when I can sit down and stop squirming, as well as paint and draw. KB: Do you spend time online looking at the work of other iphontographic artists? SMK: I do look at other works, and am completely blown away by the talent and creativity that's out there.  I am enamored by the fact that this is a worldwide community. KB: Do you study other art forms? SMK: Acting I've trained in a multitude of facets of theater for years.  I've also had a couple of official painting lessons recently.  I'm also an avid art museum visitor.  It's one of the first mecca's I make when I hit a new town. KB: Have you done a lot of traditional photography? If so, are you still using your camera as well as your iPhone? SMK: Did I mention I went to a small all girls Catholic school which is now closed?  I never took a formal photography course.  I do, however, have a Nikon D80 now, which, I will eventually teach myself how to use.  It's so damn heavy compared to my iPhone though!! KB: Who are some artists - in any medium - you admire or have influenced you? SMK: I grew up loving: Gerhard Richter, Yoko Ono, Caillbot, Beatrice Wood, Marcel Duchamp, the Stettheimer Sisters, basically the entire Arensberg circle and the surrealist circle, for the most part, Giacometti, Van Gogh, Salvador Dali, Frida Kahlo, Boticelli, etc. I tend to like classics with a wee bit of anarchy. Did I mention that I went to Catholic schools? It was after I developed my iPhoneography tastes that I discovered the vast and beautiful world of photographers such as: Robert Frank, Gary Winogrand, Helen Levitt, Diane Arbus, Aaron Siskind, and Wallace Bermana. There are many, many artists from various museums and galleries who have moved and inspired me.  There is nothing as glorious as being in the same vicinity of an artist and his or her work. KB: What is your basic app kit, or Camera Bag, as Marty Yawnick calls it. How has your use of apps evolved over time? SMK: Camerabag, Mill, RetroCamera, Best Camera and Photogene.  I'm going to try Camera Plus as well.  I'm not a go-crazy-with-the apps person. I mostly use Camerabag. Once in awhile I'm go a little nutty if I'm working abstract.  However, now that I'm heading to LA, who knows.  My style might completely change. KB: Are there any apps you don't like? SMK: Now Knox Bronson, I know that's a loaded question. KB: Are there any specific improvements you would like to see made to existing apps? SMK: I need an app that is going to sensor detect subtle contrasts needed vs spew a big blotch a light in the middle of a photo.  Someone suggested Pro HDR.  I'll give it a whirl. KB: Are there any apps you would like to see developed/invented? SMK: It might be fun to name film stock/ treatments and grains according to artists: To turn photos into instantaneous studio sessions sans lighting set ups would be glorious! KB: When you feel you have reached a creative stalemate, and believe your work is not cutting it anymore, do you have any tricks for breaking out of artist's block? SMK: Hasn't really happened yet.  If I have a bad day of photos, it's because I'm in a crappy mood.  Basically, I mentally change the size of my lens.  Start looking at things in a different way. KB: What features would you like to see implemented at the Pixels At An Exhibition website? SMK: I can't wait for the new site- for pictures to load faster and searches to be user friendly! KB: A last word perhaps? SMK: I'd like to thank the Academy... Oh, wait!  I'll save that one for next year! KB: Thank you, Suzan. Welcome to California and the city of dreams! New York's loss is our gain! You can see Suzan's striking contributions to Pixels: The Art Of The iPhone by clicking here.

[caption id="attachment_19790" align="alignleft" width="215" caption="iPhoneography's Leading Man, Jaime Ferreyros"][/caption] We are happy to present our fourth in the series of artist interviews here on Pixels At An Exhibition. This week, Jaime Ferreyros, who was also one of our first featured artists. KB: Please tell us a little about yourself – where you live, if you hail from Earth, anything like that. Whatever you feel like sharing that isn’t covered in the questions below. JF: I was Born in Lima, Peru but started traveling and living around the world from the get-go. My father was a Peruvian Ambassador, so I called San Francisco, Tokyo, Lima, Rome and Panama home as we moved from city to city. Since 1992 I call Miami, Fl. Home, living with my wife, 3 kids and “Ramona” our yorkie. KB: How long have you been shooting pictures with your iPhone? JF: My wife bought me the 3GS iPhone a year ago for fathers day. Twelve-hundred and eighty-eight pictures  later, I've taken pictures with it everyday. KB: How often do you work on your art? JF: Everyday! KB: When did you get serious about it, and what was the turning point for you? JF: When it’s about expressing myself, I’m always very serious. I don’t intend to be the best or better than anyone, I just try to be honest with myself. KB: What do you like to shoot? When? How does your whole creative process work? And how has it evolved? JF: I don’t have favorite subject when it comes to capturing images. I’m always drawn to simple things, I am a minimalist at heart. As far as the creative process, it depends on the image. Sometimes I don’t edit a thing, I let the moment speak for itself. KB: Do you work in any other creative mediums, i.e., painting, music, writing, etc.? JF: I am a tv writer, director, producer. I started working as a copywriter in Advertising in my country before coming to Miami. In 1993 I was asked if I wanted to be the General Producer for a famous Paparrazzo tv special, An EMMY award and 18 years later, I’m still working those crazy tv hours. KB: Do you spend time online looking at the work of other iphontographic artists? JF: I’m always looking at other iphoneographers work. They inspire and push me to do things I probably would’ve not dare to do. There are amazing artist out there, I salute all of them! KB: Do you study other art forms? JF: I don’t study other art forms and don’t believe art is something you study. The art of expressing yourself should come deep from your soul, not a book or sitting on some class. In any case, the streets and everyday people should be our teachers. KB: Have you done a lot of traditional photography? If so, are you still using your camera as well as your iPhone? JF: I’ve loved taking pictures since I was 17. While living in nyc back in 1981 for four years, I woreT-shirts, jeans and my pentax camera strapped around my neck everyday. I loved black and white and have some pretty cool street shots of that era…days gone by. KB: Who are some artists - in any medium - you admire or have influenced you? JF: I love Bukowski, Atget, Jackson Pollock, Kurosawa, Werner Herzog, to name a few. KB: What is your basic app kit, or Camera Bag, as Marty Yawnick calls it. How has your use of apps evolved over time? JF: My basic kit would be FocalLab, Lo-Mob, CameraBag, TiltShiftGen, Hipstamatic, Photostudio, Photogene, PhotoForge and ShakeitPhoto. KB: Are there any apps you don't like? JF: The apps I don’t like, I don’t use. KB: Are there any specific improvements you would like to see made to existing apps? JF: I’m not a very technical guy, but I would love Hipstamatic to let us upload photos to be treated. KB: Are there any apps you would like to see developed/invented? JF: I ‘m happy with the current app’s but also like to be surprised so lets give it up for the developers! KB: When you feel you have reached a creative stalemate, and believe your work is not cutting it anymore, do you have any tricks for breaking out of artist's block? JF: I stop editing my pictures when I feel it’s done and right. I don’t believe in perfection, to me only God is perfect. KB: What features would you like to see implemented at the Pixels At An Exhibition website? JF: I really think the Pixels website is a fantastic window of exposure for all of us. I couldn’t ask for more. KB: A last word perhaps? JF: I want to thank my iphoneographer friends and colleagues , who continue to be been such a source of inspiration. KB: Thank you, Jaime! You can see Jaime's amazing, vibrant contribution to Pixels At An Exhibition here. [mappress]

[caption id="attachment_18627" align="alignleft" width="216" caption="Portrait of the Artist As A Young Man"] [/caption] Gordon Fraser has contributed a striking collection of images to Pixels At An Exhibition since we first put out a call for submissions last December. Several of his pieces were voted into the Giorgi Gallery show by the jury: a nude, one of his striking geometric abstracts, a beautiful black-and-white beach shot. In the recent OakBook gallery show, his ethereal shot of Stonehenge garnered lots of attention. His work—the figurative, the geometric, the architectural, the street shots taken in the moment—invariably demonstrates a keen eye for composition and form. His use of apps is impeccable: we barely notice them. He recently published a book, iNOLOGY, an overview of his iPhoneographic work, which he talks about here. We thank him for both his taking the time to answer our questions and for his generous contributions to our communal gallery here at Pixels. KB: Please tell us a little about yourself - where you live, if you hail from Earth, anything like that. Whatever you feel like sharing that isn't covered in the questions below. GF: I am a Scotsman, born and brought up in Glasgow but now living in the south of England, near London. My day job is in the audio visual industry where I run a small consultancy and distribution business. That job takes me all over the UK and sometimes even further which is great. I am married and my wife is a writer, and is extremely supportive of my photography. We have collaborated on a couple of projects now, she edited a book I did and I, and some photographer friends, helped her out by organising a shoot of a scene from the novel she is writing. Evidence here. KB: How long have you been shooting pictures with your iPhone? [caption id="attachment_706" align="alignright" width="150" caption="Nude #2"][/caption] GF: My first few mobile shots were not taken with my own iPhone. I had just replaced my old phone with a shiny new Nokia N97 but I just couldn't get used to it as a phone.  Then everything changed when a friend lent me his original 2G iPhone to try for a few days in September 2009. At that time I was still using my Canon5d as my main camera. I was in a new shopping mall in Glasgow where, on a previous trip I had been told by the security guards to stop taking photographs of mannequins (another ongoing project which has got me thrown out of various shops).  But this time, I knew the images I wanted, moved in with my iPhone, took the shots and moved on quite inconspicuously. KB: How often do you work on your art? (i know the answer to this one for all of you!) GF: Not as often as I would like unfortunately. In the past I was less discerning about what I would shoot and why, but nowadays I try not to take a photo unless it means something to me, or I think it shows an object or location differently than how it may have been viewed before. My work takes me all over Britain, so I am fortunate in being able to spot all manner of weird and wonderful things.  The frustration lies in the fact I get opportunities to take the shots but don't always then have the time to sit and work out how to process them – even though I obviously do all my processing in the iPhone itself. Yesterday I took a pile of panorama shots in Wales, including a set in infrared (my new "thing") but I am not sure I will have any time to process them for 4 or 5 days. KB: When did you get serious about it, and what was the turning point for you? GF: 26th Sept 2009 was the turning point. I was on a photographic day trip to London with my mates from The Monday Night Photo Club. We are an invitation-only group of photographers who meet every Monday in local pubs. We also arrange group outings/challenges to stimulate our own creative ideas and bounce things off each other. On this occasion we went to walk through London and the brief was that you had to use a compact camera, not a DSLR. I had my Canon G9 with me and my original, borrowed iPhone. Just after lunch the battery on my G9 died and I had forgotten my spare. So I pulled out the 2G iphone and continued with that. Most of my favourite images from that day were with the iphone, not my G9. I put them in a set here if anyone wants a look.  Just after this revelatory experience I took part in a photo-a-day project through October 2009 and decided to use my iPhone for it. This coincided with a trip to Paris which is always an epiphany of sorts anyway, and from that point on I have hardly used my DSLR and compact camera at all. KB: You recently released a book of your work. Can you tell us a little about it? Where is it available? GF: I had the idea for the book near the end of the photo-a day-project. I was taking so many pictures I really liked in diverse fields that I thought I needed to try to keep going, collecting a bigger and better portfolio of shots. I originally envisaged a series of books on different topics: Fine Art Nudes, Landscape, Abstract, Architecture.  I decided to then create a sampler product with chapters on these different ideas.  Once I had taken the shots I wanted, it took me about three weeks from start to finish to lay the book out, write the text and then edit it after feedback. All the shots in the book are taken with either a 2G or a 3Gs and all are edited totally in-phone. Nothing was done to the images outside the phone except laying them out in Blurb’s desktop publishing software.  When I got the first test print I was thrilled at the quality. Photo's really do look better in print than on screen.  The book, iNOLOGY, seeing through an iPhone is available now from Blurb and at 188 pages it's packed full of good stuff. You can see a preview of each chapter here.  iNOLOGY the first in the series, but the one I'm really looking forward to working on is iCANDY….. KB: What do you like to shoot? When? How does your whole creative process work? And how has it evolved? GF: Perhaps unsurprisingly, I tend to shoot things that interest me. These could be funny or interesting juxtapositions in street photography, buildings, landscapes, and people.  My favourite genre to work is portraits, particularly fine art nudes. Although a lot of what I do is just taking the picture when I see something interesting. For my fine art work that is not the case. Most photography is free but when I shoot nudes I use professional models and I don't want to waste their time or mine by not having an idea of what to do before a shoot. So for those shoots I work out a detailed plan of shots I want to come away with, how they will be lit, what features I want to try to focus on or ideas I want to get across. My most recent model shoot was a few weeks ago in an old pub in Oxford, in a private bar area. I knew that there was a large old mirror and big full-height windows. I kept thinking about the mirror, about how it showed what was around us when we looked in but that this was a distortion, reversed, colours altered. The presence of the mirror made me consider trying to do a composite, layered shot that I hoped might get across this idea that we may not always be alone, that we might just be another layer ourselves, or at least that many people wish this were so.  The end result is here. So I suppose there has been a gradual evolution in my mobile creative process, which stems from understanding that the iPhone is so much more than just a point and shoot camera. As a photographic tool it is very powerful and if you have an idea and sit down to think about it a bit, you will hopefully be as pleasantly surprised as I have been about what’s achievable with an iPhone. KB: Do you work in any other creative mediums, i.e., painting, music, writing, etc.? GF: I learnt to play the violin as a child but have forgotten that completely. The only writing I do is about my work and photography and even painting a wall is a hardship for me.  But I am known internationally for my cooking.  Or at least my poached egg on toast. KB: Do you spend time online looking at the work of other iphontographic artists? GF: Yes, I have a breakfast regime of too much coffee and surfing pixelsatanexhibition,  Life In LoFi, Iphoneography.com and several iPhone flickr groups. It amazes me sometimes to see the breadth of work that’s out there. Some shots I find hard to believe are from an iPhone and others I just wish I knew how to achieve the effects or how to have the creative gift to see those end results before they are captured. Not that I want to copy others work but I think if you have technical knowledge you can use it for your own effect. KB: Do you study other art forms? GF: I am a big fan of modern art. I visited the Pompidou Centre on my first trip to Paris with my wife in 2000. I was not a big art fan at that point, as I associated it more with dark and dusty paintings from the middle ages. But then I saw an exhibit by an artist called Ben Vautier, http://bit.ly/9uyRoz. This was my first tuned-in experience of conceptual art, a record shop and all its contents, and it brought me to tears. I was astounded at the power of this pile of bric-a-brac and what it said to me, and since then I have become extremely interested in art.  Also film and TV are well worth studying. The best TV is about big ideas, and generally they are lit and shot extremely effectively. Mad Men is a classic example of wonderful lighting and colour grading, allied to superb cinematography. KB: Have you done a lot of traditional photography? If so, are you still using your camera as well as your iPhone? GF: I have not done a lot. I only started photograph as a hobby about four years ago after I was given a gift of an old medium format camera by a relative who was too old and ill to use it any more. I found that camera too cumbersome, but it got me interested in taking pictures, so I bought a cheap DSLR and was hooked. I rarely use my current DSLR these days. I am sure I will use it again though and I already know that by using my iPhone almost exclusively for the last 9 months I will have become a better photographer and will be able to make even better wok with the DSLR when I get back to it. KB: Who are some artists - in any medium - you admire or have influenced you? GF: Well I've mentioned Ben already. I kind of like Anthony Gormleys sculptures, Tracy Emin’s work can be pretty amazing too.  I was in Vienna for our wedding anniversary and we went to MuMok there and saw an Emin piece which was a love poem written in fluorescent light tubing. I loved it.  Music is also a very big thing for me and there are many artists who can do no wrong in my ears…Aimee Mann, Francis Dunnery, Shawn Colvin are a few but there are lots of others in many genres. Then there is photography. Needless to say, I really enjoy seeing photographic exhibitions. At Vanity Fair’s portrait exhibition in London I was struck at the quality and consistency of work by Annie Leibowitz.  Platon, the New Yorker’s staff photographer is pretty amazing and on a completely different track, I find Gregory Crewdson and his amazing cinematic large format images very compelling. On the nude stuff its impossible not to admire the work of Helmut Newton and I have a few flickr contacts whose work I always find beautiful. These guys just seem to know about light and composition and ideas. Sanders McNew, http://bit.ly/b95IAB  and Wyliedwyer http://bit.ly/ap6H4t.  I bought Sanders’ blurb book of portraits, Double Exposure and this is what set the seed in my mind that I should do a book one day. If you like portraits it is well worth the money. KB: What is your basic app kit, or Camera Bag, as Marty Yawnick calls it. How has your use of apps evolved over time? GF: My basic set that get used a lot are FilmLab, Coolfx, Photoforge, Autostitch. The evolution was simple….I bought Chase Charvis's Best Camera app. Initially I loved it but quickly I realised it wouldn't let me do what I wanted. Having been used to Lightroom and Photoshop I needed a little more control. I almost ditched Photoforge as I found it so flaky. It would save images and the levels would be way off, the clone tool would not work the way I expected, but now I have an understanding of its limitations I use its good functions quite a lot. My latest thing I'm trying out is Infra Red and for that you ideally want some fine control of colour channels. One of my friends from the aforementioned Monday Night Photo Club works in hi-end car design and 3D modelling and he suggested an app by a famous colour-grading studio. Mill Studio's MillColour app. That's my latest and I have to say it's very, very cool and it's FREE! KB: Are there any apps you don't like? Yes. Autoadjust got taken off my phone almost immediately and LiveFX is, to me, pretty useless. It only stays on my phone as it has one feature I like to play with occasionally. I really feel cheated by that app having bought it after reading reviews saying it was a more powerful version of Best Camera. Perhaps it's just that what it does is not suitable for my form of photographic art. KB: Are there any specific improvements you would like to see made to existing apps? GF: I would like to see the ability to save a series of layers or settings so they can be applied to a series of images like batch process. When I do a series of studio shots I tend to process one shot multiple ways to get the tone and colour and feel I want. It's then hard to match that when you have used multiple layers on an app or two. KB: Are there any apps you would like to see developed/invented? GF: I think that just getting more powerful versions of Lightroom and Photoshop would be enough for me.  Not much to ask…. KB: When you feel you have reached a creative stalemate, and believe your work is not cutting it anymore, do you have any tricks for breaking out of artist's block? GF: Touch wood, I have not reached that point. I just like looking at stuff all the time and often that's enough to get me going. KB: What features would you like to see implemented at the Pixels At An Exhibition website? GF: I really want to be able to comment on other folks work. I constantly want to tag images to tell folk how much I admire a shot and, I know from a personal point of view, getting comments like that from other like minded individuals is good motivation to keep going. KB: Anything else you would like to say? GF: I'd like to say a big thanks for getting out there and promoting iPhontography as an art form the way you do. Getting two gallery shows done in six months is pretty cool. Long may the power be with you and I'm really looking forward to seeing how we all progress. KB: Thank you, Gordon. I want to apologize for the broken comments here on Pixels. By the time I realized it had happened, we were, and are, far into the development of the new site, where they will, of course, be working.

[caption id="attachment_17355" align="alignleft" width="259" caption="Ramona Gillentine"][/caption] We are happy to present our second in the series of artist interviews here on Pixels At An Exhibition. This week, Ramona Gillentine, who is also our featured artist this month. KB: Please tell us a little about yourself – where you live, if you hail from Earth, anything like that. Whatever you feel like sharing that isn’t covered in the questions below. RG: I was born into a very creative and artistic family in December of 1979 in Tupelo, Ms, the town where Elvis Presley was conceived and began his King of Rock & Roll  journey. I lived there for 13 years and then moved to Oxford, a small town fifty miles west of Tupelo. Oxford is the home of The University of Mississippi which is where the first presidential debate of 2008 was held. Oxford is included in The Best 100 Small Towns in America, has a thriving music scene, and has been called the art center of the South. KB: How long have you been shooting pictures with your iPhone? RG: Overall, I have been shooting iPhone photos for two years. The first photo I app'd wasn't until 2009 and I knew then that I had discovered a new creative passion. KB: How often do you work on your art? RG: I work on iPhone photography quite a lot and everyday. Sometimes I am completely consumed by it and going at it all day long nonstop. KB: When did you get serious about it, and what was the turning point for you? RG: I have been serious with my iPhone photography for a year now. My turning point was with a specific photo that I app'd using Camerabag, titled Rainshield. It's the single most important photo to me as it serves the very foundation of endless possibilities and inspiration to my work. KB: What do you like to shoot? When? How does your whole creative process work? And how has it evolved? RG: My favorite subject to shoot is buildings. I also like to shoot landscapes and cloudscapes and sometimes am lucky to get a great combination of the two together. My creative process: Sometimes it is a spur of the moment shoot, I'll happen to see something that catches my eye in passing. Other times, I get out and drive around and sometimes I specifically go to a location for shoots. I would say my process has evolved in the way that I now spend more time on shooting the subject I am working with. I used to be a little more instantaneous and very brief with my shooting. I feel that I am just now really starting to understand what it is that my eye is wanting to communicate to me and capture. KB: Do you work in any other creative mediums, i.e., painting, music, writing, etc.? RG: I currently do not work with any other mediums as I am consumed with iPhonetography. Before iPhonetography, I painted off and on for 10 years and before that, I wrote a lot of poetry for a few years. Someday I would like to see myself getting back into some painting. I am interested in making some short films with the iPhone. I have experimented some already and have some ideas and footage for some possible short films. KB: Do you spend time online looking at the work of other iphontographic artists? RG: Yes, I do spend a good bit of time looking at other iPhonetography work. There is always something to be inspired by and I am just thrilled to see all the talented and creative work out there. KB: Do you study other art forms? RG: I appreciate all art forms and like to study a wide range of artists and their works. Painters, illustrators, photographers, mixed-media, textiles, sculptors, architecture, etc. KB: Have you done a lot of traditional photography? If so, are you still using your camera as well as your iPhone? RG: I have not done a lot of traditional photography if any. I have done some self-portraits and landscape shots with a digital camera. I am much more fulfilled by using the iPhone camera and the apps. The only time I really use my digital anymore is when I am going to see a band play in a dark and dusty bar and want to get some good clear shots of the band performing. KB: Who are some artists - in any medium - you admire or have influenced you? RG: The short list of some of my most favorite and inspiring painters: Georgia O'Keeffe, Jackson Pollock, Franz Kline, Arshile Gorky. Photographers: Alfred Stieglitz, Ansel Adams, Brett Weston, Henri Cartier-Bresson. KB: What is your basic app kit, or Camera Bag, as Marty Yawnick calls it. How has your use of apps evolved over time? RG: I started out with just using Camerabag and then I discovered Lo-Mob which I use a lot. Format 126 is the best Black & White app that I have found out of all the other Black & White apps. I also use Plastic Bullet occasionally. KB: Are there any apps you don't like? RG: There are a lot of apps that do not fit my style but it doesn't mean that I dislike them. The only thing that bugs me is when an app will not let you upload from your own roll. KB: Are there any specific improvements you would like to see made to existing apps? RG: I would also like to see Lo-Mob offer you the option for a photo to be cropped or not. KB: Are there any apps you would like to see developed/invented? RG: I would like to see something similar to the BlackKeys films of Hipstamatic in an app to itself.  I like both the effects of the films and the frames. I would like this app to be without the use of it's own viewfinder in which you would be able to upload photos from      your own roll and without any labels in the frame area. That would be a great app! KB: When you feel you have reached a creative stalemate, and believe your work is not cutting it anymore, do you have any tricks for breaking out of artist's block? RG: There are a few things that I will do when I feel a creative block in my way. Sometimes, I just let go for a few days and let it rest. Sometimes I will look at and study other photographers and their work and find inspiration. And sometimes I will just work harder. Just all depends on the mood at the time a block creeps in. KB: What features would you like to see implemented at the Pixels At An Exhibition website? RG: I, of course would like to see a Black & White category added. A nicer gallery layout for the artists, possibly with thumbnails of photos. The ability to comment on photos would be nice, too. (Ed. note: these features coming very soon!) KB: Thank you, Ramona! [mappress]

We inaugurate a new feature at Pixels At An Exhibition, artist interviews, with a chat with one of our favorite artists, Ale Di Gangi, who, as most of you know, is a regular contributor here at Pixels and was one of our first featured artists. We will be publishing interviews every week with the pioneers of this new medium. KB: Please tell us a little about yourself - where you live, if you hail from Earth, anything like that. Whatever you feel like sharing that isn't covered in the questions below. ADG: I was born in January 1966 in Firenze, one of the most widely known and visited cities of the whole universe. I still live there because it feels like home to me. Visual arts as well as music were running in the family but nothing was done to educate me on these, so I had to do it all by myself after I went at the University and got a life of my own, discovering things and following instincts. I started dealing with writing, music, visuals at 19 through fellow students who already were artists, and with the years I have found a bit about my interests, eye - and style. Hopefully much is yet to be found, though! KB: How long have you been shooting pictures with your iPhone? ADG: It all starts on January the 15th, 2009. On that very day I came to realize the iPhone camera would actually produce interesting output and not at the cpmplete garbage I was expecting... for at least six months I had refused to use it as I was sure results would be as disappointing as those of obnoxious Nokia’s. When I first stumbled on QuadCamera and CameraBag, they took me by such surprise I could not stop shooting. KB: How often do you work on your art? ADG: Every moment of my waking time, and sometimes in my sleep as well. It just can’t stop: I see photos and I take them. I have spent manyyears of my life now bringing with me at least one camera - often more! - at all times, and the iPhone has somehow “liberated” me... and I’m talking about size and weight. KB: When did you get serious about it, and what was the turning point for you? ADG: I should say I was always serious about it, since I was born: my father used to be a very good and passionate photographer but since he was... “expecting” me to pick up on his interests, I just refused to. Until I gave up and admitted I had some kind of a photographic eye and it needed to be brought out. Then, I got really serious when I found out about Lomos and Holgas, Polaroids and all that stuff, and that happened around my 30s. My father has been a huge part of my education of the eye, since I was brought up by a Leica man who would shoot photos and 8mm films all the time in front of and around the family. Funnily enough, when I started getting into photography, I called him and he told me he quit and sold all his equipment! KB: What do you like to shoot? When? How does your whole creative process work? And how has it evolved? ADG: I tend to shoot pretty much what I see, whenever and wherever, and I cannot plan or stage at all. I just am not that kind of photographer. Photos “happen” to me and I might be defined as an “instant photographer”, meaning that I shoot when a photo gets in my sight: I see it, I stop, frame, shoot, then leave. Those rare times when an idea comes to my mind, it’s usually with people: I then turn into some kind of a tyrant, even asking for weird poses and not giving up until I get what I have in mind. A couple of times friends defined it as “painful”! But this can only last a few moments, and it’s either good at first shot or gone forever. I like shooting in the street (especially candid), details, places, shapes and colours. I have a taste for skies - and living in Italy certainly helps a lot as we have the most beautiful light and clouds here... But I am not able to see panoramas, I just don’t have the eye for it. As for evolution... apart from my father, Flickr did a huge lot for me: I learnt so much by looking at what others I admire are posting, day by day. I owe it in huge part to these people. KB: Do you work in any other creative mediums, i.e., painting, music, writing, etc.? ADG: I have been doing lots of different stuff and I still do many things now and then, as if according to some kind of personal urge. I make short films and minimal videos: a 3 minute short was featured at the 2009 Cannes Film festival short section. I used to write poems and song lyrics when I was younger: I released a book in my early 20s and got featured on a few poetry papers. I used to have a tiny indie band and sing: we released a few albums on indie labels and got distributed in Europe, US and Japan as well. I did some postal art. Ihave been a web designer... but I can’t paint or draw, even though my grandparents, uncle and mum used to be known as painters and makers of stained-glass windows. KB: Do you spend time online looking at the work of other iphontographic artists? KB: Yes indeed, I have so many iphontographers contacts on Flickr, and there’s always more to find. KB: Do you study other art forms? ADG: My full time job steals most of my time. What remains is dedicated to my own art, even though I am always interested in “studying” new things that attract me, of course. KB: Have you done a lot of traditional photography? If so, are you still using your camera as well as your iPhone? ADG: I still am doing film, and digital too. I am still completely in love with my Polaroid cameras, I like having a proper camera in my hands. It’s all a matter of mood and what I feel like doing; often in the morning before I leave home I slip cameras in my bag according to the feeling of the moment. KB: Who are some artists - in any medium - you admire or have influenced you? ADG: I should say I have been influenced by periods more than names. See, I was born in the mid 60s in Italy and I had the chance of breathing the air then; I took conscience during the 70s, when Art was still an everyday part of lives thanks to the best designers: we had Brionvega tv sets, just to make an example, where I used to watch tv every night in the living room. Everything then still had a certain “style”. Of course I could name you a rather eclectic list of artists I love and cherish, from Pontormo to my own grandads, from Italian TV serials of the early 70s (they used to produce such amazing stuff, you wouldn’t believe it!) to Pizzicato Five and Dior and the Spacemen3 and fascist architecture (*only that*!) and French cinema... I could go on for ages. KB: What is your basic app kit, or Camera Bag, as Marty Yawnick calls it. How has your use of apps evolved over time? ADG: Lately I am completely taken by Hipstamatic. It fascinates me so much I just can’t let go of it and I dream of updates and features I would really, really need to see implemented! I absolutely love CameraBag (both on the iPhone and on desktop), TiltShiftGen, ShakeIt, Lo-Mob, PhotoForge and CameraKit. These are definitely my faves. It’s an ongoing evolution, I’m checking pretty much all apps I can find and seeing what can appeal to my taste and style. Hipstamatic is uncomparable though. KB: Are there any apps you don't like? ADG: Oh, so many... but I tend to forget about them once I delete them. I hate it when an app uses low resolution. I understand that the average user may not even be interested in good resolution and how difficult it might be to develop an app - but to me this is a key point. I should also say I love SwankoLab but it’s too slow for my taste, I can’t remember what each chemical does and how, so I’m not using it much. As I said, I am “instant”. KB: Are there any specific improvements you would like to see made to existing apps? ADG: Lo-Mob is almost perfect now, especially on the framing side. TiltShiftGen might start sporting some more manipulability on the blur, but it’s so good for everything else... I *really* hope to see Hipstamatic let you edit photos taken with other apps, choose films/lenses after the shot, be a bit faster on the printing process so I can shoot faster. KB: Are there any apps you would like to see developed/invented? ADG: Oh please let me have Lightroom on the iPhone! Hahaha... An app that lets you use a proper automatic exposure setting, just like Lomo cameras: real auto exposure. That’s my fave feature in analog cameras. KB: When you feel you have reached a creative stalemate, and believe your work is not cutting it anymore, do you have any tricks for breaking out of artist's block? ADG: Generally, no. I just wait. It’s happened to me before, and now I know it is not the end. I will take a break, rest my mind, let it flow... and it will come back sooner or later. It feels rather uncomfortable, though. KB: What features would you like to see implemented at the Pixels At An Exhibition website? ADG: Managing my photos would be totally great: being able to upload in batches, eventually delete them, simple stuff, nothing too advanced technologically. And having the possibility to leave comments on other photographers’ works, definitely. Having a feedback from other photographers is the best way to get a more detached eye to what you’re doing. I cannot think of a better way to help a fellow photographer. (Ed. note: these features coming very soon!) KB: Thank you, Ale! [mappress]