jimmcnitt

Wonderful work Amitava! I don't have clue what this is–a flesh eating plant, a macro of a caterpillar leg, or perhaps some newly discovered virus? What I like most is the selective depth of field, that reveals the moisture drops and hair-like fibers while preserving the essential mystery of what we are seeing here. --jim

Somehow, this strikes me (pun intended) as image that could only originate in the land of Fellini.

 

The Steampunk projector--or is a camera?--or does it matter?--is enthralling. I remember seeing some similar "junk sculpture"--they were masks, of course, in a shop window in Venice and I studied them until my wife got fed up said she was going on without me... But I digress...

 

Someone above mentioned they couldn't decode the meaning--which would be pointless if this is true Surrealism as defined in Andre Breton's manifestos. I especially like the ambiguous touches--the matching hair, blindfold, dress and finger bandages, for instance. And those plastic trinkets, she's really smashing them, isn't she?

 

Anyhow, Giovanni, if there's a formal meaning here, I'd rather not know it. What fascinates me most about this image is it's universality--nearly everyone who looks closely can find a different meaning depending on their personal preferences, beliefs and perhaps even prejudices.

 

I, for instance, see a cautionary tale about the power of film to rewrite mythology, sometimes enlarging it, sometimes reducing it. The woman with the hammer? She's an amalgamation of European folk heroines. Snow White, of course. And Goldilocks. Sleeping Beauty. Cinderella. Who was the Celtic heroine? Oh, yes, poor Deidre of the Sorrows, undone by her own beauty. All co-opted, pummeled and, ultimately, diminished by the power of the cinema. Perhaps by Fellini. But certainly by Disney who spread their fame, but in sanitized versions that are an insult to the frightening power of the original folk tales.

 

So, what I am trying to say here is that I like this image. A lot.

 

Congratulations!

 

--jim

Oh, my, this is brilliant Jiri! Clever, arresting and oh so sophisticated. --jim

Thanks Vikie... comments appreciated...

The new born and the dying, all connecting by the murky, mystic source of life--water. Captivating and incredible. --jim

 

 

Anodyne is a term describing herbal remedies made from lily, saffron, elderberry or mallow root to promote the healing of wounds and abrasions.

 

This "Anodyne," however, is a mixed-media project that seeks to marry elements of photography, digital imaging, and traditional oil painting. It's a logical extension of earlier experiments like "Approaching New York" and Cubist Chrysler that were posted many years ago.

 

The technique involves assembling several composite images from photoss and 3D digital renderings and printing the result onto a 30 x 40-inch canvas with a large-format Epson Inkjet Printer. The canvas is stretched and painted using artist's oils and acrylics.

 

Software used on "Anodyne" included zBrush, GoBot, and Poser for digital imaging and Photoshop for compositing and final tonal adjustments.

 

"Anodyne" is part of a thematic series that was exhibited at Artexpo NY 2009.

 

The entire series, plus video tutorials on compositing images in Photoshop CS3, can be found on my web site.

 

Comments always appreciated. --jim mcnitt

 

A fine portrait that really conveys a profound sense that life can be about overcoming painful obstacles. The shepherd's crook is a wonderful touch. --jim

Well seen! It's moments like this that really define what is meant by the term "the photographer's eye." I'd wager that nine people out of ten would have passed by without noticing either the composition or irony of this scene. --jim

 

 

This "mixed-media" image represents an effort to marry photography with digital imaging and traditional oil painting. It's a logical extension of earlier experiments such as "Approaching New York" and Cubist Chrysler that I posted on PN several years ago.

 

The technique involves composite images that are created from photographs and 3D digital renderings and printed on 30 x 40-inch canvas by a large-format Epson Inkjet Printer. The canvas is then stretched and painted using artist's oils and acrylics.

 

Recent photos were taken with a Canon 5D or G10. Earlier photos were made with a variety of film and digital cameras ranging from a Canon Tlb and F1 to the Nikon Coolpix 990 and 8400.

 

Principal software includes zBrush, Lightwave, Poser, Vue and Painter for digital imaging and Photoshop for compositing and final tonal adjustments.

 

"Monument" is part of a thematic series that was exhibited at Artexpo NY 2009.

 

The entire series, plus video tutorials on compositing images in Photoshop CS3 are on my web site.

 

Comments always appreciated. --jim mcnitt

 

 

 

This "mixed-media" image represents an effort to marry photography with digital imaging and traditional oil painting. It's a logical extension of earlier experiments such as "Approaching New York" and Cubist Chrysler that I posted on PN several years ago.

 

The technique involves composite images that are created from photographs and 3D digital renderings and printed on 30 x 40-inch canvas by a large-format Epson Inkjet Printer. The canvas is then stretched and painted using artist's oils and acrylics.

 

Recent photos were taken with a Canon 5D or G10. Earlier photos were made with a variety of film and digital cameras ranging from a Canon Tlb and F1 to the Nikon Coolpix 990 and 8400.

 

Principal software includes zBrush, Lightwave, Poser, Vue and Painter for digital imaging and Photoshop for compositing and final tonal adjustments.

 

"Arc Angel" is part of a thematic series that was exhibited at Artexpo NY 2009.

 

The entire series, plus video tutorials on compositing images in Photoshop CS3 are on my web site.

 

Comments always appreciated. --jim mcnitt

 

 

 

This "mixed-media" image represents an effort to marry photography with digital imaging and traditional oil painting. It's a logical extension of earlier experiments such as "Approaching New York" and Cubist Chrysler that I posted on PN several years ago.

 

The technique involves composite images that are created from photographs and 3D digital renderings and printed on 30 x 40-inch canvas by a large-format Epson Inkjet Printer. The canvas is then stretched and painted using artist's oils and acrylics.

 

Recent photos were taken with a Canon 5D or G10. Earlier photos were made with a variety of film and digital cameras ranging from a Canon Tlb and F1 to the Nikon Coolpix 990 and 8400.

 

Principal software includes zBrush, Lightwave, Poser, Vue and Painter for digital imaging and Photoshop for compositing and final tonal adjustments.

 

"Vore" is part of a thematic series that was exhibited at Artexpo NY 2009.

 

The entire series, plus video tutorials on compositing images in Photoshop CS3 are on my web site.

 

Comments always appreciated. --jim mcnitt

 

 

 

This "mixed-media" image represents an effort to marry photography with digital imaging and traditional oil painting. It's a logical extension of earlier experiments such as "Approaching New York" and Cubist Chrysler that I posted on PN several years ago.

 

The technique involves composite images that are created from photographs and 3D digital renderings and printed on 30 x 40-inch canvas by a large-format Epson Inkjet Printer. The canvas is then stretched and painted using artist's oils and acrylics.

 

Recent photos were taken with a Canon 5D or G10. Earlier photos were made with a variety of film and digital cameras ranging from a Canon Tlb and F1 to the Nikon Coolpix 990 and 8400.

 

Principal software includes zBrush, Lightwave, Poser, Vue and Painter for digital imaging and Photoshop for compositing and final tonal adjustments.

 

"Dignity" is part of a thematic series that was exhibited at Artexpo NY 2009.

 

The entire series, plus video tutorials on compositing images in Photoshop CS3 are on my web site.

 

Comments always appreciated. --jim mcnitt

 

 

 

This "mixed-media" image represents an effort to marry photography with digital imaging and traditional oil painting. It's a logical extension of earlier experiments such as "Approaching New York" and Cubist Chrysler that I posted on PN several years ago.

 

The technique involves composite images that are created from photographs and 3D digital renderings and printed on 30 x 40-inch canvas by a large-format Epson Inkjet Printer. The canvas is then stretched and painted using artist's oils and acrylics.

 

Recent photos were taken with a Canon 5D or G10. Earlier photos were made with a variety of film and digital cameras ranging from a Canon Tlb and F1 to the Nikon Coolpix 990 and 8400.

 

Principal software includes zBrush, Lightwave, Poser, Vue and Painter for digital imaging and Photoshop for compositing and final tonal adjustments.

 

"Equus" is part of a thematic series that was exhibited at Artexpo NY 2009.

 

The entire series, plus video tutorials on compositing images in Photoshop CS3 are on my web site.

 

Comments always appreciated. --jim mcnitt

 

 

 

This "mixed-media" image represents an effort to marry photography with digital imaging and traditional oil painting. It's a logical extension of earlier experiments such as "Approaching New York" and Cubist Chrysler that I posted on PN several years ago.

 

The technique involves composite images that are created from photographs and 3D digital renderings and printed on 30 x 40-inch canvas by a large-format Epson Inkjet Printer. The canvas is then stretched and painted using artist's oils and acrylics.

 

Recent photos were taken with a Canon 5D or G10. Earlier photos were made with a variety of film and digital cameras ranging from a Canon Tlb and F1 to the Nikon Coolpix 990 and 8400.

 

Principal software includes zBrush, Lightwave, Poser, Vue and Painter for digital imaging and Photoshop for compositing and final tonal adjustments.

 

"Decision" is part of a thematic series that was exhibited at Artexpo NY 2009.

 

The entire series, plus video tutorials on compositing images in Photoshop CS3 are on my web site.

 

Comments always appreciated. --jim mcnitt

 

 

 

This "mixed-media" image represents an effort to marry photography with digital imaging and traditional oil painting. It's a logical extension of earlier experiments such as "Approaching New York" and Cubist Chrysler that I posted on PN several years ago.

 

The technique involves composite images that are created from photographs and 3D digital renderings and then printed on 30 x 40-inch canvas by a large-format Epson Inkjet Printer. The canvas is then stretched and painted using artist's oils and acrylics.

 

Recent photos were taken with a Canon 5D or G10. Earlier photos were made with a variety of film and digital cameras ranging from a Canon Tlb and F1 to the Nikon Coolpix 990 and 8400.

 

Principal software includes zBrush, Lightwave, Poser, Vue and Painter for digital imaging and Photoshop for compositing and final tonal adjustments.

 

"Ascending" is part of a thematic series that was exhibited at Artexpo NY 2009.

 

The entire series, plus video tutorials on compositing images in Photoshop CS3 are on my web site.

 

Comments always appreciated. --jim mcnitt

 

 

 

This "mixed-media" image represents an effort to marry photography with digital imaging and traditional oil painting. It's a logical extension of earlier experiments such as "Approaching New York" and Cubist Chrysler that I posted on PN several years ago.

 

The technique involves composite images that are created from photographs and 3D digital renderings and printed on 30 x 40-inch canvas by a large-format Epson Inkjet Printer. The canvas is then stretched and painted using artist's oils and acrylics.

 

Recent photos were taken with a Canon 5D or G10. Earlier photos were made with a variety of film and digital cameras ranging from a Canon Tlb and F1 to the Nikon Coolpix 990 and 8400.

 

Principal software includes zBrush, Lightwave, Poser, Vue and Painter for digital imaging and Photoshop for compositing and final tonal adjustments.

 

"American Angel" is part of a thematic series that was exhibited at Artexpo NY 2009.

 

The entire series, plus video tutorials on compositing images in Photoshop CS3 are on my web site.

 

Comments always appreciated. --jim mcnitt

 

Kaufman's Army-Navy surplus store, which is located under the sign, has been on 42nd Street for as long as I can remember--which means the early 1960s when I bought a Navy Peacoat there. In fact, they've been in business since 1938. --jim

This 67-story, Gothic skyscraper (circa 1932) was the tallest building in the Downtown area until the completion of the World Trade Center in the early 1970s. It also was the last skyscraper built in Financial District prior to WW II. I considered straightening the image, but decided the [accidental] off-kilter framing adds drama to the scene. --jim

A wonderful job of translating a two-dimensional image into a powerful 3-D experience. --jim

Elements of Arquitectonica's post-modern, glass-curtain Westin Hotel with reflection of

construction taking place on the west side of 8th Avenue.

 

Comments welcome.

The sense of action conveyed by your low angle and composition along with an exquisite sense of timing makes for one extraordinary image. Doubly so, given how deadly dull most historical reenactments turn out when photographed. BTW, can't help but asking: "Whatever happened to Bobbie?"

Two faces of Chinatown–satisfaction and concern.

Broadway and Third in Greenwich Village–where else?

Hi Sarah:

 

Back in the Jurasic era, I spent a lot of time making high contrast images with Kodalith film. Not one of them ever worked out as well as this image. A magnficent composition! Just enough black space on the bottom to balance the looming thicket -- which makes a natural arch at the top, bringing the viewer's eye back into the scene. And the solitary figure, neither too big nor too small, offset ever so slightly to keep everything dynamic and lively. Imponderable solitude in the midst of nature's complexity. Just perfect! --jim

Hi Jerry:

 

A terrific composition. Did you shoot this in Camera Raw? If so, you can probably retrieve some of the burned out the highlights at the end of the path. --jim