Artists Down Under - Australia and New Zealand - August 2023

Brunton - Smiley

DOWN UNDERartists

Australia and New Zealand

Hello everyone and welcome to the August edition of Artists Down Under.

My goodness, hasn’t the last month gone very quickly, the year is just flying past and sometimes I think we just all need to stop and smell the roses, to breathe a little, to enjoy our families and to appreciate those friends that pop in to say hi! Within our busy lives, our artists have still had the time to sit, block out the hussle and bussle of the outside world and to create some amazing art for you. I hope you all enjoy what they have put together for you.

Our Featured Artist this month is one of our newer artists, Elenor Gill. Elenor has a wonderful style to her artistry and I hope you all enjoy the collection of art that she has put together for you.

The girls have been at it again with another of their fun images in their Chinese Whispers series. I know they have great fun every month, challenging each other and it is always a delight to present to you what they have come up with.

Andrew Haysom has put together another very interesting Photoshop tutorial for you. This month he delves into the Gradiant Tool changes that have taken place in Photoshop 2023.

Maureen Maxwell presents to you another of her interviews, this month with our artist Gitama Day Gitama is a very talented artist and I know you will all love Gitama’s journey within the art world.

Kye Thompson has shared with you all her journey and discovery of learning all about Multiple Exposure and International Camera Movement. Another fun way to put a spin on the standard form of photography and turn it into a delightful artistic image.

Lastly and the most importantly, the fun part of our magazine, our artists Photographic challenge. This month I set the challenge with “Scarecrows” as the theme, thinking surely this would trip them up, but the images they have produced are amazing. So go grab a cuppa and enjoy what our artists have kindly shared for you all.

Well that’s it from me for now. Stay safe and take care of each other.

Pam Henderson

Backgrounds: Foxy Squirrell Laitha’s Designs - Jai Johnson - White Lane Studio

Copyright 2017 ©

Ilona Abou-Zolof - Tasmania, not Tuscany

LYNETTE PAUL ( NEW ZEALAND )

JANE TOVEY ( AUSTRALIA )

RACE TIME IN MILAN

artists Achievements monthly down under

artists down under facebook page

The Artists Down Under Public Facebook page has been set up to allow the artists in the group to showcase their work and to enable them to share promotional information about themselves, e.g. exhbitions, awards etc...

You can find the Artists Down Under Public Facebook page at this address; https://www.facebook.com/groups/ArtistsDownUnder/

So, if you are an artist in the group, don’t forget to regularly share your work and information here, and to let your friends and family know about the page if they are interested in viewing the latest art and news from the group.

If you are a reader of the magazine who does not have access to the page, please click the link above and request to join. When you request to join you will be asked to answer three simple questions that will allow us to determine if you are an eligible artist who may wish to join the group and therefore be able to post on the page, or a member of the public who can view, comment and like the work on the page. It’s a great place to see some great art from this vibrant group every day!

Three ADU members receive a special gift

Our very good Awake friends Teddi Rutschman of Foxey Squirrel and Diane Stafford from WhiteLaneStudio continue to give gifts as a reward for members of the Artists Down Under group who contribute to the ADU Facebook page by regularly posting their artworks and supporting other members with their comments.

Teddi, from Virginia, USA, is well known for her fantastic sets of digital designer backgrounds, masks and all kinds of wonderful elements ready for designers to add to or build a wondrous creation.

Teddi Rutshman can be found at http://www.foxeysquirrel.com/ http://www.oscraps.com/shop/Foxeysquirrel

Teddi has given a 50% off discount voucher for one very lucky member to spend in her on-line shop.

Diane Stafford from Chester, UK, designs Photoshop textures and overlays for photo artists and photographers to use in their digital artworks. Diane has created another special kit just for Artists Down Under for the month of AUGUST.

Two artists will receive a Diane kit each. Diane Stafford can be found at https://whitelanestudio.co.uk/biolinks

The AUGUST lucky winners are

Teddi Rutschman (Foxey Squirrel)

50% off Gift Voucher

- Ann Wehner

Diane Stafford (WhiteLaneStudio)

Texture & Overlay Kit

- Jacqui Goss

- George Koncz

LIVING THE PHOTO ARTISTIC LIFE

https://issuu.com/thephotoartisticlife/docs/issue101-final?fr=sNjFhODI1ODEw

Congratulations to the following artists for having their images chosen to appear in the International magazine

“Living The Photo Artistic Life”.

Rosa Perry

- Flossie

- True Soul

Kim Ricci

- Angelique

Christina Brunton

- Ninja Mirror

Sonia Pusey

- Blue Hour

- Change Your Heart

Maureen Maxwell

- A Boy AAnd His Friends

Lynette Paul

- She Wears Flowers In Her Hair

Julie Powell

- Rose Study I

Judi Lapsley Miller

- Playtime (pïwakawaka)

- The Muse (kâkâ)

Sandra Dann

- Felix

- Rocky The Ring Master

Ilona Abou-Zolof

- Warrior Against The World

- Oriental Beauty

Rosa Perry - Flossie

Rosa Perry - True Soul

Sandra Dann - Felix Kim Ricci - Angelique

Lynette Paul

- She Wears Flowers In Her Hair

Julie Powell - Rose Study I

Judi Lapsley Miller

- The Muse (kâkâ)

LIVING THE PHOTO ARTISTIC LIFE

Christina Brunton - Ninja Mirror

Ilona Abou-Zolof - Warrior Against The World

Judy Lapsley Miller - Playtime (pïwakawaka)

Sonia Pusey - Change Your Heart

Sonia Pusey - Blue Hour Print

Maureen Maxwell - A Boy And His Friends

Ilona Abou-Zolof - Oriental Beauty

Sandra Dann - Rocky The Ring Master

light space and time

“Animals”

https://lightspacetime.art/animals-art-exhibition-july-2023/

Congratulations to the following Artists for their special achievements in the “Abstracts” Light Space & Time competition.

Honourable Mention

Ilona abou-Zolof - “African Elephant”

Christina Brunton - “African Pelican”

Special Merit

Christina Brunton - “It’s A Beautiful Day”

Ilona Abou-Zolof - “Lurking”

Ilona Abou-Zolof - Lurking

Ilona Abou-Zolof - African Elephant

Christina Brunton - African Pelican

Christina Brunton - It’s A Beautiful Day

light space and time

https://lightspacetime.art/Summer-5-for-$10-art-exhibition-july-2023/

Congratulations to the following Artists for their special achievements in the “Abstracts” Light Space & Time competition.

Photography & Digital Special Merit

6th Place Christina Brunton - “Lady In Red”

Special Merit

Christina Brunton - “Tom Take A Bow”

Ilona Abou-Zolof - “From High Up”

Ilona Abou-Zolof - “Cruising Along”

Ilona

- “Cover Up”

“5 for $10”

Abou-Zolof

Ilona Abou-Zolof - Cruising Along

Christina Brunton - Tom Take A Bow

Ilona Abou-Zolof - From High Up

Ilona Abou-Zolof - Cover Up

Christina Brunton - Lady In Red

Prue Wright - Pride And The Fall

Penny De Jong - Ravaged By Greed

https://artistsdownunder.com.au/artist-2/gitama-day/

DOWN UNDER

Australia and New Zealand

SOME PHOTOSHOP INSPIRATION

THE GRADIANT TOOL CHANGES IN PHOTOSHOP 2023

By Andrew Haysom

Adobe have introduced some changes to the Gradient tool in Photoshop 2023.

The Gradient tool is used to draw gradients (transitions from one colour or tone to another) that can be very useful for colourisation, adding lighting effects or creating layer masks, amongst other things.

Figure 1 shows the location of the Gradient tool on the toolbar as well as the Options bar for the new Gradient tool. The first change you’ll note is the dropdown towards the left of the Options bar where you can choose the new Gradient tool (the default) or the old Classic Gradient tool.

The other options shown in the Options Bar have not changed with the PS 2023 update and are used in the same way.

If you want the Gradient tool to operate as it always has, choose Classic Gradient from the dropdown, in this case you’ll note that you have a few extra settings in the Options bar – Blend Mode, Opacity and Transparency – see Figure 2.

[Figure 1 – New Gradient Tool and Options Bar]

SOME PHOTOSHOP INSPIRATION (CONT.......)

It is worth noting the Method drop-down which was a recent change too (in Photoshop 2022). This change offered two additional gradient interpolation methods (Perceptual and Linear) that are designed to create smoother gradients that are more in line with the way the human eye perceives light in the natural world. Perceptual is the new default value, but it might be worth experimenting with this setting for very fine control over the gradient.

The first and most obvious behaviour difference with the new Gradient tool is when you are drawing gradients on pixel layers. With the old tool the gradient would destructively just draw onto the pixel layer, with the new tool a Gradient Fill adjustment layer is automatically created. One advantage with this approach is that it is much easier to fix mistakes – for example, with the old tool if you had drawn a gradient and had the wrong type selected (eg linear instead of radial) then you’d have to undo and start again, with the new tool you can simply change the type by clicking the relevant icon in the Options bar and the gradient will be redrawn.

The Gradient Fill layer now offers gradient settings in the Properties panel as well as a direct onscreen control with which to change the gradient, allowing much easier repositioning and changing of the gradient, with live updates on screen.

The on-screen control also makes it much easier when applying lighting effects, or when creating layer masks because as you move/drag the gradient control the gradient is updated and the effect on the image can be seen live on your image.

Figure 3 shows the five different gradient types and the format of the on-screen controls for each. Figure 4 shows a Gradient Tool in use.

[Figure 2 – Classic Gradient tool Options bar]

[Figure 3 – The five types of gradients]

To change the position and size of the gradient just click and drag the end points of the control (or the circle or line). The colour stops will be shown by circles on the gradient line, double-click one of these to bring up the colour picker to change the colour of that stop. Between each colour stop you’ll see a small diamond shaped control, dragging these along the line will change the transition between the two colours. To add a colour stop, position the mouse cursor onto the line (it will change to a triangle with a + sign) and click. To remove a colour stop just drag it down off the line. You can interact with the colour stops in the Properties panel in the same way but will have to select (click) a colour stop in order to see the two diamond shaped controls either side of it.

[Figure 4 – Gradient Tool in use]

[Figure 5 – A Gradient with multiple colour stops]

SOME PHOTOSHOP INSPIRATION (CONT.......)

A very common use for drawing gradients is on layer masks, and here too you will get the onscreen control for easier manipulation of the gradient if you have the new tool selected. With layer masks though you don’t get the Gradient controls in the Properties panel, and if you’re drawing multiple gradients with white-to-transparent, or black-to-transparent settings on the one layer mask (like Figure 6) you will only see (and be able to modify) the control for the most recent one drawn.

You can still double-click the Gradient icon on a Gradient Fill layer in the Layer panel to invoke the Gradient Fill dialog, and then double-click the Gradient there to invoke the Gradient Editor (see Figure 7).

[Figure 6 – A layer mask created with the gradient tool]

[Figure 7 – The Gradient Fill and Gradient Editor dialogs]

SOME PHOTOSHOP INSPIRATION

The Gradient Editor is required if you wish to change the opacity of the gradient (eg to make it transparent), or if you wish to modify and save your own Gradient presets.

In the Gradient Editor the circular controls below the gradient are the Color Stops, those above the gradient are the Opacity Stops which allow you to make a gradient transition from completely opaque (100%) to completely transparent (0%).

One other little trick that you may not be aware of is the placing of two colour stops at the same location (ie on top of each other), this allows you to create a hard transition from one colour to another, rather than a gradation. Other than the obviousness of the hard line between the two colours, another thing that makes this technique obvious is that the little diamond that normally shows between the two stops appears on top of one (see Figure 8).

So, when might you want to use the old Classic Gradient? For me it is really only when I’m drawing with multiple gradients on the one layer, or when you want to “draw” with gradients using different blend modes, this occurs for me when I am trying to create digital patterns, but otherwise might be rare.

Adobe have said they will continue to make improvements to other legacy tools in Photoshopwelcome news indeed.

Andrew Haysom

[Figure 8 – A hard line between two colours in a gradient]

KAYLENE HELLIWELL ( NEW ZEALAND )

GOOD MORNING MR. SUNSHINE

DOWN artistsUNDER

Australia and New Zealand

DIGITAL ARTISTS GROUP

A COLLABORATIVE GROUP OF PHOTO ARTISTS

CHINESE WHISPERS #69 “A RIDE TO THE GALAXY”

STAGE 1

STAGE 2

Pam started this month’s collaboration and gave me some cute elements. After playing around with different ideas, I decided to add a Steampunk Labrador on an old motorbike heading off into the galaxy, plus lots of textures.

We hope you are enjoying our collaborative attempts. We don’t take it seriously and just have a lot of fun

ENJOY!

Pam Henderson

Maureen Maxwell

Maureen Maxwell

ELENOR GILL

STITCH IN THE DRAGON’S TOOTH

TRICK OR TREAT

Meet your artist ELENOR GILL

Gisborne New Zealand

1. Tell us a little about yourself and where you live?

Born and raised in England where I married Brendon and had a son and a daughter who then produced our six grandchildren and three great-grandchildren. (And we have always had lots of cats.) By profession I was an occupational therapist, specialising in remedial psychiatry, which involved a lot of creative activity, (art, drama, music etc).

I’ve always been interested in the arts in one form or another but only allowed my own artistic expression to blossom very late in life. My husband is an ex-pro musician - bass player - but I was well over forty when I learned to play the flute. We then went on to perform together in ceilidh bands and sing in folk clubs and festivals round England, developing a love of traditional music and song. I also took up writing at fifty plus years of age, shortly before we left England.

In1999 we both decided to take early retirement (I was 55 at the time) and emigrate to NZ to join our daughter in Gisborne (by then she had married a Kiwi). Gisborne is on the East Coast of the North Island, a small city, isolated on all sides by a range of mountains and the sea. Here we have been able to continue with our music and I joined the Gisborne artist society. I also had the time to develop my writing skills which, thanks to HarperCollins, became my main creative out let for about ten years. I had 5 novels published on the theme of the paranormal (something else I’ve always been involved with). But alas, with the advancement of online publishing, the world of HC collapsed in NZ. And no way was I going to promote my own work online! So, at the age of 69 (‘bout time I got off the stage) I started looking round for a new artistic outlet

2. How did you become interested/get started in Photo Artistry?

I became aware we had a local Camera Club. I joined up, got a camera and started to learn the craft. The help and support of other members, along with an ongoing programme of photographic challenges, was the perfect environment in which to explore and a wide range of techniques and subjects. Having had a close relationship with my computer for years, I was drawn to the blend of art and technology. And although I enjoy the camera work, what I love most is the post production process. When I got my first download of Elements, I felt like a child let loose in a toy shop.

I love the theatre. Some amateur theatrical friends noticed I was toting a camera and asked if I would help make a poster. Thus, I fumbled through my first attempt at digital art. Since then, I have been involved with 16 theatre productions, designing publicity material and photographing rehearsals right through to public performances. At the end of a run, I am able to present the production team with a photographic record of their work.

3. What inspires you or gives you inspiration to create your art?

You’d think, considering where I live, that it would be the landscape. That’s what I thought when I was first let loose with a camera. But no, almost everything but. I’m constantly in awe of other photographers’ work. Seeing what can be achieved is truly amazing. Yes, it gives one new ideas but, and perhaps more importantly, it gives one “permission” - you are allowed to experiment, allowed to push the boundaries – it’s OK to break the rules.

But I think mostly it’s words that inspire me - perhaps part of a song, or a poem - one word or a one liner -just something to spark of a trail of thought. Then there are things that happen, matters of concern in the world around us, that can be summed up in one word then expanded into a concept that demands visual expression.

4. Do you have a certain approach to creating your art?

When embarking on a new project, I browse through my archive, picking out anything I think may be useful or relevant and moving it to a Project File. From there I can plan to source or create anything that is missing. Usually I make a “mock-up” image first, combining layers, masks etc, then study it with a critical eye, deciding how it should have been done, before discarding all layers and starting afresh, building up the final version from scratch. By which time I have worked out how to do it! This saves wasting time on perfecting details which turn out be unwanted. Second time round I have a much better idea of where I am going and what needs to be done to achieve the desired effect.

5. What does your art mean to you?

I think I’m a typical Leo, “I am what I create.” So, to be truly self-expressive, anything I create must be an affirmation (or condemnation) of who I am. Thus we learn about who we are. With art one is often holding up a mirror to oneself. Plus, I am not a spectator - if something is happening I want to be a part of it. Just as well I’m not interested in hang-gliding or all-in wrestling.

6. Do you think since starting in photo artistry it has changed you and if so, how?

It has given me a lot of freedom by allowing me not to worry too much about what other people think of what I’m doing. Naturally, I do appreciate constructive criticism. But the rules of photography are there to learn from not to constrict. And at the end of the day, the most important person to please is oneself.

7. Is there anyone that you draw inspiration from?

A few years ago I took a study course in 20th century Art and learned about the early expressionists. I think they have had the greatest artistic influence on me. (Though as I understand it, they were mostly inspired by the early photographers.) And then there are the surrealist artists, of course. More recently I have been working though some of Sebastian’s courses, gathering inspiration as I go from his tuition and from the other students.

8. Where do you see (or hope to see) your art taking you in the future ? What are your next steps?

Now, let’s get realistic about this. My next step is to celebrate my 79th birthday which is only weeks away. Then I’ll be well and truly on the home straight with the finishing post in sight. I’m not going to waste energy making grandiose, long-term plans at this point in life. My greatest hope is that I can go on enjoying creating art for as long as it takes. So, providing my brain cells hold out and my fingers can still press the right keys, I’ll be happy with that.

artists

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Australia and New Zealand

INTERVIEW WITH GITAMA DAY

By Maureen Maxwell

Thank you for doing this interview, Gitama. You’ve been a member of Artists Down Under since 2019. We’ve seen many of your images in our monthly magazine and on our Facebook page.

You have also been a Featured Artist in the international magazine, Living the Photo Artistic Life. The 100th edition of this magazine was published last month, and you were one of the Featured Artists shown there as well. This is the link to the magazine for our readers.

https://issuu.com/thephotoartisticlife/docs/issue100-final?fr=sZjQzZTI1ODEw

One of the reasons for doing a series of interviews for our magazine is to enable our members to get to know each other a little better. I also think our general readers will be interested to hear more about your creative journey.

HOW DID YOU BECOME INTERESTED IN PHOTO ARTISTRY?

It was many years ago when my daughter wanted a picture of her as an angel. From there I had a little business going of Photoshopping kids or people into old paintings. I can’t remember why I stopped doing it, but I did and became more interested in photography

For years I honed my skills at photography however It was always exciting to come home from a photoshoot to immerse myself into post processing …I loved it nearly as much as finding myself at the beach under a glorious sky, capturing my grandson and his discoveries or learning about different parts of the world through my lens…just being out there in the field.

In so many ways the image on my screen just didn’t convey the magic I felt being in that par ticular place, or with that person/animal/subject... and no matter how obsessed with learning ICM, Long Exposures and Focus stacking everything started to have to go through Photoshop or Nik at the least.

With my already grasp of Photoshop skills I found my desire to take things further and further spill over the edge … and take the risk of my photo not being a photo anymore but photo art…. there really is a big difference in some ways between the two, the most subtle of changes turns a photo into photo art or a photographer into a photo artist…it’s funny to think that in this small

way by just adding a bird into a photo of my grandson that change happened and there has been no looking back... however the change happened and especially hugely so when I discovered Sebastian Michaels Photoshop Grunge course……I thought I already knew a lot about Photoshop but really I was hardly scratching the surface.

YOU CREATE ACROSS A NUMBER OF PHOTO ARTISTIC GENRES. A LOT OF YOUR ART HAS AN ALMOST MYTHICAL FEEL TO IT. THEY USUALLY TELL AN INTERESTING STORY AS WELL. PLEASE TELL US ABOUT YOUR APPROACH TO CREATING THESE IMAGES, AND IS THERE A PARTICULAR STYLE YOU PREFER?

I love trying everything out…I guess I am always looking for a ‘Gitama’ style but never really quite come up with anything that has hooked me and kept me, even though I often get told ‘I knew that image was one of yours as soon as I saw it’….so in some ways maybe I have found it without knowing. I absolutely LOVE Myths and Legends…stories from the past that were told before our inundation with devices and screens. I also get very annoyed at how women are often portrayed as nasty harridans when the men are shiny heroes. Clarrisa Pinkola Estes turned me onto the female in Mythology years ago and I guess it has always stuck with me……I like to tell a story and sometimes crusade through my imagery (even if only for myself)…often the stories come through as I am working on them and crazy though it may seem (although I am sure that this happens to many other artists) the subject starts to speak to me …and... even sometimes I stop being lazy and write the story down.

ARE THERE ANY ‘GO TO’ TECHNIQUES YOU PREFER WHEN DOING YOUR PHOTO ARTISTRY? IF SO, WHAT TECHNIQUES WOULD YOU USE MOST FREQUENTLY?

I guess I usually embark back to creating an image to look as if it was really happening as if it was a photo taken out of the camera (with lots of post of course ;-). I mean isn’t it really very probably to find a naked Nymph sitting in a tree who has just lost her apple with a fox looking on? Or perhaps 2 people who arrived on the shore in a paper boat discovering a pear temple? For me elements in the image need to be cohesive. Dragon Boy was one of my first images even before starting with Photoshop Grunge or Awake, it took ages (I could do it in a 10th of the time now) but I absolutely loved creating it. His First Flight was another early image in which I could showcase photos I took of the amazing Caldera in which I live, the Brahminy Kites that are ubiquitous in our area and the foal in the paddock. I guess my ‘GO TO’ is where the image dictates and my interest takes me at the time (I was going to say ‘heart’ which is closer to the truth, but it sounded a bit twee…but there I have done it now). Flowers for Nanny (the golems) was a little foray into the world of DAZ. It was a combined effort between my grandson and I… to me this is a very precious image even though I have never gone back to DAZ... I didn’t like it much.

INTERVIEW WITH GITAMA DAY (CONT....)

I like to choose my colours carefully and of course composition is very important however learn ing about lighting has been essential and perhaps the most important thing I have learned to bring home an image that I am really happy with.

WHERE DO YOU FIND INSPIRATION FOR YOUR CREATIVE COMPOSITIONS? ARE THERE PARTICULAR ARTISTS YOU FIND INSPIRATIONAL?

As with most of us Nature plays a big part…animals, flowers, landscapes and of course the ever-present myths ...books I read...movies I watch…music…the whole world is just one huge cauldron of Inspiration.

I find many artists in our Photoshop community so very inspirational, too many to name. There is so much I get by being part of ADU and Awake and Kaizen and especially when I can go through the monthly magazines from both. I don’t have any particular digital artist that I follow at the moment even though there are many out there…I guess Rusty McDonald is definitely a fave...always and there are so many fabulous artists in Beautiful Bizarre that just leave me with my mouth open.

THE PHOTO ARTISTRY ENVIRONMENT WE ARE INVOLVED WITH IS A NEVER-ENDING JOURNEY WITH COUNTLESS OPPORTUNITIES FOR LEARNING. WHAT DO YOU ENJOY MOST ABOUT THE LEARNING PROCESS?

I love everything about learning...it’s what gets me up in the morning…I often feel like a sponge just wanting to learn more and more…unfortunately as I get older my memory is a bit rubbish so when I go to implement something I have learned I have already forgotten…I remember what it is but not how to do it, however if I am really lucky I will remember the tutorial I learned it from and I will go and learn again….no biggie. I think one has to be very patient navigating getting older and having a dodgy memory. Like I said LEARNING…LOVE IT.

INTERVIEW WITH GITAMA DAY (CONT....)

WHERE DO YOU SEE YOUR CREATIVE JOURNEY TAKING YOU IN THE FUTURE? AND ARE THERE SPECIFIC PROJECTS INCLUDED IN YOUR PLANS?

I really don’t know and to be fair I don’t really mind not knowing. All I do know is that I am so grateful that I was born a creative and that I will be creative until my last breath. It enriches my life like nothing else. I will never be a couch potato watching midday movies as I get older. I do not have any desire to go out and try to sell my work or to do anything with it really other than create it.

At the moment though I have gone analogue…it seems weird that with all this AI stuff going on that I have reverted to paint and pens. I have no problem with AI...it’s silly to fight something which is inevitable and however one is creative and what floats one’s boat is fine by me. I have tried Midjourney and have created images from my findings… (which took me just as long as if starting from scratch) but at that time they were not suitable to post on Awake.

I have been looking after my eyes staying away from the computer for the time being, that doesn’t mean to say that I won’t be jumping back into digital art again…there are things that I just cannot paint if you get my drift. However in a very strong way I find the two practices melt and merge into each other and things that I have learned through going digital has profoundly informed my tinkering onto the canvas……and then there is the photography…. it’s just one big happy family really.

I am on a steep learning curve into cold wax and oils at the moment……where it takes me, I do not know…. but there is a lot more learning about light involved.

WHAT DOES BELONGING TO ADU MEAN TO YOU?

ADU is a very important community for Aussies and New Zealanders who often get left out of the picture with the huge presence of the USA taking up so much of the space.

I really would love to join the monthly zoomies but I either forget or I decide not to because I am a bit shy and not so comfortable with Zoom, I am a weird mix of introvert /extrovert …but ... I often watch it after and feel like I know many of you already.

PLEASE TELL US A LITTLE ABOUT YOURSELF, YOUR BACKGROUND AND YOUR OTHER INTERESTS.

Born in London England we were 10-pound Poms who emigrated to Australia in the late 60’s. Most of my life I have been influenced in the arts one way or another. In my late 20’s I was a dancer and belonged to several theatre groups performing in Australia and Europe. Traveling the world played a big part in my life…I loved experiencing different cultures and when I found a place I liked I would put down roots and become like a local especially India, Asia and Europe. When I was 40, I became a mature student and studied Fine Arts (mostly printmaking and pho tography) at SCU and from there the rest is history and have been creating ever since. I have just turned 70… I live in Northern NSW Australia surrounded by gorgeous mountains with my daughter, grandson, dog and cat. We have just peeked out a little studio for me in the house and there I spend a lot of time just happy as a clam.

All of my interest revolves around art and the making of it in some way shape or form.

TRACEY PERRIN ( AUSTRALIA )

MERMAID SELF PORTRAIT

http://www.artistsdownunder.com.au/artist-4/penny-de-jong/

DOWN UNDER

Australia and New Zealand

MULTIPLE EXPOSURE AND INTENTIONAL CAMERA MOVEMENT

By Kye Thompson

Recently I have started exploring ME (multiple exposure) and some ICM (Intentional Camera Movement). I saw some work on the internet which grabbed my attention immediately because of the lovely painterly look and the colours plus the fact that they were mostly done in camera.

I belong to a couple of camera clubs which deal with the usual genres, landscape, portrait, nature and wildlife along with all the rules to go with them. With very little attention given to artistic practice or exploration. There are some wonderful photographers in these clubs, but I am not one of them,

I started to search out all I could on ME and fortunately there is quite a lot of information plus the work of photographers who use this method. Dough Chinnery, Colin Fries and Valda Bailey.

The next thing I did was purchase a second-hand Canon5D 111 as it has ME and the four blends. Similar to PS. My old Nikon can do two exposures but hasn’t the blends. There is a lot of experimentation and it is slow work, you won’t always get what you hope for also many of the photos will be rubbish and get binned. But to get one that you feel works with the colours, look and feel makes it all worthwhile.

What ME does is move you past the confines of conventional photography. The four blend modes are Additive, Average, Bright and Dark, they can add strong blocks of colour and graphic abstraction.

There is much more information on the web with wonderful examples. But be warned -

IT IS VERY ADDICTIVE.

Kye Thompson - Sun Catchers

monthly artistic down under

photographic challenge theme: 73

Ilona Abou-Zolof - Scarecrow

Christina Brunton - Percy Scarecrow

Pam Henderson - Scarecrow Family

Karen Waalwyk - Scarecrow

Penny De Jong - Sinister Straw Sentinel

Julie Powell - Scarecrow

Catbeagle Creations - The Forgotten Scarecrow

Kaylene Helliwell - Outstanding In His Field

Rosa Perry - Scarecrow

Andrew Haysom - Scarecrows Rule The World

Prue Wright - Scarecrow

Bev Terawyskj - Scarecrow

Andrea Carter - Scarycrow

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Helping Women with Endometriosis

50% of profit donated to endometriosis research

When I first heard about endometriosis I felt a deep compassion and need to do what I could to help. Women with endometriosis suffer debilitating pain, disruptive symptoms and often endure multiple operations simply to function normally. Few people are patient when listening to descriptions of pain, symptoms or illness. This can have the effect of silencing people who are ill.

My compassion inspires my photoart which I show in presentations to raise awareness. I joined Awake to teach me advanced Photoshop skills, specifically to expand my photoartistic skills to create imaginative and dramatic images.

My photoart opens dialogue enabling freer expression of hidden feelings, experiences too private to mention in ordinary conversation. I create photoart inspired by the concerns of women with endometriosis. Several women have said that the process of imaging their suffering has helped them to face their pain and illness. There is immense strength in being heard. I want my photoart to become visual screams!!

26 women with endometriosis have told me about their experiences. They spoke to me about their concerns and collaborated during the photo session. We explored meanings of body, ideas of self and impacts of illness together, agreeing which ideas we would explore photographically. My photos are often carefully arranged, but that doesn’t mean they are fake. They represent the personal truth and experiences of 26 women with endometriosis. These women are remembering and acting out their OWN experiences. They choose their own stance and facial expression. Women with endometriosis are the only people who truly know what endometriosis FEELS like.

Unfortunately endometriosis is relatively common; an estimated 1 in 10 women living with endometriosis, being over 175,000,000 women worldwide! And an estimated 500,000 women in Australia! Their experiences are heart-breaking. Regular illness and debilitating pain result in missed education and poor career opportunities leaving them women vulnerable to poverty.

Women with endometriosis need real medical progress to reduce their suffering. I passionately desire to raise money for endometriosis research so that faster diagnoses are made and more effective treatments are found. To raise money for endometriosis research, I host events and sell products on Redbubble. Recently I gave $3,000 to Canberra Endometriosis Centre!

Art by Margaret Kalms

Share ‘EndoWomanArt’ with your friends on social media to raise awareness and money for women’s health!

We all need clothes & household goods. Buy yourself a treat or buy a special gift for your friends. Make your shopping count!

Remember 50% of profit goes to endometriosis research!

https://www.redbubble.com/ people/EndoWomanArt/shop

Follow ‘Life with Endometriosis’: https://www.facebook.com/ LifeWithEndometriosis

See Margaret Kalms photoart, ‘Life with Endometriosis’: http://www.endowomanart.com

Margaret Kalms

Bunch Of Butterflies On Grevillea Sweatshirt

Butterflies False Colour Grey Stripes

Bunch Of Butterflies On Grevillea Pencil Case

WEBSITE: http://artistsdownunder.com.au/ http://tinyurl.com/artisitsdownunderpublic