With the new era of digital cameras, photography has become much more common. Almost anyone can afford a camera and most have one. Even many cell phones have a digital camera. While most new cameras are also quite easy to use, there are still many areas in photography where you need to have the knowledge to succeed.

These are some of the most common mistakes made by new digital photographers. If you are an unpracticed photographer, you should try to at least avoid these mistakes.

1. Poor Camera

This is by far the most common mistake these days. Many cheap digital models are only good for either landscape or closeup photographs due to their poor focus. Know your camera: what it can do and what are its limitations. A $200 model should never be used for professional photography.

2. Lighting

Another common mistake is to forget lighting or believe the camera takes care of it all. You will seldom get as good images in dark conditions with a cheap flash than you could in plentiful natural lighting.

3. Cropping

While it is much easier to see what gets in the photo with today's LCD displays than with an old-fashioned seeker, there are still plenty of mistakes you can make. One thing to remember is that you can crop the image on your computer. That means you will most likely want to include too much space around than too little.

4. Zooming

There are so make things that can go wrong with zooming. The number one thing to keep in mind is to always avoid using the digital zoom. It is a feature found in many cheap digital cameras that basically has the same result as cropping the image on your computer. If you need zoom, only use the optical zoom.

5. Camera Settings

If you are not sure about the settings in your camera, it may be best to use the defaults. If there are several modes, the 'auto' mode is usually the easiest to use. You should take care that you use a good format to save the images. Often the high detail mode with the highest resolution should be used, if you are not short on memory.

The bottom line is: if you are serious about photography, you must practice it. Digital photography does not differ much it that sense.

If you do not learn the skills in advance, you are going to have to learn them the hard way, and that will probably mean making these mistakes and more. It can also mean tens or hundreds of lost photos - shots that could have been excellent had you not made a simple mistake.

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Today there is a great demand in the entertainment industry. People love watching movies and are keen to watch most new movies. In some ways I think due to the busy schedules everyone has, they are looking for some kind of entertainment at the end of the day and that’s exactly what movies provide them with. Watching a movie is a great way to let out steam after a long day at work. We can just kick our shoes off, jump on to our couches and enjoy a movie. Be it serious movies or comedies. They are always entertaining. Besides being entertaining many movies prove to be educative or informative which again is interesting to watch. It can brighten up a boring week day or provide great entertainment on a relaxing week end. There is no doubt that everybody just loves and appreciates a good movie.

With the increase in the number of viewers of movies or rather the audience, more movies are being produced. Very often, two to three movies are released at the same time. Besides the usual Hollywood movies, the latest thrill in the film industry is the animated movies. Animated movies are believed to be kiddies’ movies, but that is no longer true. Tons of adults are crazy about animated movies. Couples along with their kids flood the movie halls to enjoy animated movies. Another version of movies that are popular is the 3D movies. These movies are increasingly popular. The 3D version makes the people connected with the characters. It also brings more life to the movie. Kids especially enjoy this version. It is a super success among audiences of all ages. Due to the success of both animation and 3D, producers are now combining both versions. They prove to provide more entertainment for the masses. Animation never seizes to thrill its audience and everyone cannot help but admire the 3D format. 3D animation has now become common. It has left the audiences asking for more. Sometimes it is hard to imagine that all of this has been developed over the years. Technology is steadily being rediscovered and so many new technologies are coming into being, one better than the other. Technology doesn’t seem to stand still; it just keeps evolving and evolving. Thanks to evolving technology, we get to watch some really entertaining movies and can enjoy the 3D Animation format.

What is so special about 3D I hear you ask? Well the 3D format definitely brings more life into the movies. It makes it feel more alive. The characters seem alive and with you. Animated movies too are widely popular because they show you something you don’t get to see in real life. Here in animated movies, you see dogs talk, chicken sing, rabbits cry, horses talk and the sun smile. Animation is popular because it really explores different possibilities. It makes you think, what if! It is very interesting. Also it is believed that the animated movies are providing serious competition to movies made with actors. Many actors and actresses fear that they may not have a happy career thanks to the invention of animation. According to them there is hardly any margin for error where animation is concerned. You don’t have bad acting when it comes to animation. In fact the acting in animation is top. All you need is good voices and most animated movies have some of the best Hollywood actors lending them their voices. When it comes to acting by individuals, not many can say they are perfect. In fact acting is tough and all the actors are continuously under scrutiny by the audience, for a movie to be successful acting will play a keen role. If the acting is good, you can be ensured that the audiences will enjoy it even if the story line isn’t that great, on the reverse, if you have a great story line but it isn’t accompanied by brilliant acting, you will find that the audiences won’t be watching your movie. With 3D animation, there is no problem. The acting is always top notch and people enjoy it. 3D animated movies are a sure short success most of the times unless the story line is very poor. But almost every time, animated movies receive good responses from the movie lovers.

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Recently, my mother in law came to visit and, like any good residents of the Los Angeles Metropolitan area, we took her to visit the Getty. Having never been to the museum ourselves, we found that there was a lot to learn for us too. Both myself and my mother in law were fascinated with the lighting structure in the top floor galleries of all the Getty buildings. The Getty uses the best kind or solar lights: the kind that comes right from the sun! The ceilings of the Getty museum have special light fixtures with mirrors in them that direct the sunlight onto the artwork, and adjust throughout the day in order to perfectly light each piece based on the amount of sunlight available.

Although I don’t have nearly the budget that the Getty has, I like for the artwork in my house to be well lit. Usually, I’m a big fan of Pendant Lighting but in terms of lighting artwork with it, pendants are really difficult to focus and aim. For lighting artwork, I prefer to use lamps and light fixtures that can be focused and angled in order to highlight the surfaces of the piece in the exact way that you want, and no other.

With lighting household artwork, there is a thin line between tasteful and crypt keeper. Only the most extreme decorating schemes can pull off official museum lighting plans like contrasting up and down lighting. In the average house, artwork is lit best with understated accent lighting rather than elaborate plans. The focus of a museum is the artwork, but the focus of your home should be you. Don’t stress out if every piece isn’t perfectly lit, your guest are there to visit you, not your art.

There are some great places online to find the kinds of lamps I’ve been writing about in this article as well as the perfect light you need for any other part of your house at http://www.eco-furniture.com. For lamps specifically, http://www.eco-lights.com/lamps.php is a good link, and http://www.eco-lights.com/wall-lighting.php is a great place for wall sconces.

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You wedding day is one of the most important milestones of your life! You spend a fortune on flowers, stationary, place cards, a gorgeous wedding dress, a make up artist and so much more. Your personality, your style, who you are goes into those details.. maybe you like elegance or maybe you like dots and stripes and lopsided cakes. Whatever, and whoever you like there is a wedding photographer out there for you. There are photographers who shoot in different styles that would do a more adequate job capturing your day the way your envision.

The most popular styles of wedding photography in today's market are...

1. Photojournalism
Photojournalism is the art of capturing moments unobtrusively. Normally you barely know that the photographer is there. He/She normally covers weddings with large telephoto lenses (although not always) and tries not to get in the way of the story as it unfolds. They normally don't like shooting posed family photographs or posed bride and groom photographs preferring to capture moments as they really happen. This style of photography takes mastering. The photographer needs to know their equipment extremely well and it basically needs to be an extension of their body. If you are going to hire a photojournalist make sure that they person has many years of experience as it is a difficult and artistic method of photography.

2. Illustrative
This photography is usually a creative person who loves design and elements of color and texture. This person will pose in new and different ways, maybe laying the bride on the floor or shooting from strange angles. The photography will set up fun posed shots and instead of just posing and shooting they will have the subjects interact together to capture spontaneous moments. This style of photography brings more of the photographer into the photography. This photographer's artistic vision and use of lighting, design elements and texture is more artistic. They do not just wait for things to happen and capture them. They will often makes things happen.

3. Traditional
Although traditional photography still has it's place in the modern photography world it is being pushed aside by more illustrative and photojournilistic styles of shooting. You see more traditional photographers that are older and have been in the industry a long time and have not changed their ways or you will see it in the lower end beginners as it is any easy style of shooting that does not take much creative input. Tradition style photography is posed and can follow a photography list. It is stiffer in it's style and does not allow for mush spontaneity. This is sadly a dying breed. Although most photojournalists and Illustrative photographers still do some posed photography especially during the posed family shots with the bride and groom. So it still has its place.

The best photographer is a photographer that has the ability to shoot photojournilistic and can capture most of the day as quickly and masterfully as a true photojournalist but that will still give you the fun artsy look of an illustrative photographer. Someone that will prompt some fun stuff and still be able to do posed family shots for mom.

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There are so many art exhibitions around that sometimes your own exhibition can get overlooked. When organising your next exhibition use your opening function to create something interesting and innovative. By coming up with an imaginative hook or angle you will be assured of getting more visitors through the door.

The majority of sales happen during the opening function therefore take full advantage of this opportunity to maximise dollars. Entice as many guests as possible to your event to increase your chances of sales by both shear numbers and by creating an illusion of demand.

Increasing visitor numbers can be achieved simply by having a drawcard at your opening function, such as inviting a VIP guest, having an unusual and interesting hook, unveiling a special artwork, or holding a competition.

1. VIP Guests

Everyone wants to meet someone famous. So inviting a VIP guest to your opening function is a sure way to get people to attend also. By association your visitors will automatically view your event as something special and important too -- just like your VIP. If you don’t know anyone well-known ask your friends, family or work colleagues for contacts. Someone is bound to know a sports celebrity, actor, musician or politician.

During the event make your VIP feel important and special. Offer them refreshments, introduce them to other important guests, and mention them warmly during your speech. A few days after the opening function follow up with a letter of appreciation.

2. Interesting Hook or Angle

With a little imagination and creativity you can make your opening function really special by adding an interesting hook or angle. Perhaps you can adopt an unusual hanging method to display the artworks; incorporate an interactive art installation which guests can ‘play’ with; include a multi-media display using video or sound; or hire a live jazz band to create atmosphere and ambience.

Art exhibitions can become very flat and static, so adding an extra dimension can be very beneficial. Not only will you increase visitor numbers, but you guests will see you as an interesting, innovative artist and perceive your artwork as a worthwhile investment.

3. Artwork Unveiling

Turn your opening function into an extra special event by unveiling an extra special project. This will create anticipation and excitement as your guests wait for the presentation to take place. You could unveil a major artwork which you have spent a lot of time on, something you have prepared for a special charity cause, a collaborative project that many artists have participated in, or a memorial piece to acknowledge a worthy event or person.

Create maximum impact and splendour by rigging up a curtain in front of your artwork. Attach lengths of ribbon to the curtain so it can dropped at the precise moment to reveal the master piece to your eager audience.

4. Competition

People love getting something for free so a competition is a sure-fire way of getting people to attend your opening function. Start the competition at the beginning of the evening and finish it at the end. This will encourage your guests to stay longer, which will in turn increase your chances of additional sales.

Be imaginative with the competition question. Consider your exhibition theme, use wit and humour, and incorporate logic and problem solving into your question to really get the conversation going. At the end of the evening get your VIP guest to announce the winner and present the prize.

By using a little imagination and creativity at your art exhibition opening function you can increase visitor numbers, enhance sales, create interest, and generate enough excitement to ensure guests come back again for the next exhibition!

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Not so long ago, drawing became the new painting. From small-scale and intimate to wall-sized, highly-worked or resolutely low-fi; whatever its format, the re-appearance of a once side-lined medium marked a dramatic shift in its fortunes and indeed, assumptions about art in general.

But why the change? Was it that, in an art scene increasingly driven by fads, drawing became du jour simply because it hadn't been for a very long time? Or were other, less obvious factors at work?

In fact, the re-emergence of drawing was far from market-driven, and its increase in profile a far slower process than any newly voguish status might suggest.

To understand something of its current impact, it's necessary to look back at the closing years of the 20th century. A time when, to the eyes of many, the art scene looked very different indeed.

Throughout much of the 1990s visual austerity and a certain restraint governed the work of a new wave of artists; many of them British, many high-profile.

Figures such as Darren Almond, Damien Hirst, Martin Creed, Rachel Whiteread and a re-discovered Allan McCollum typified an art scene driven by hands-off, conceptual practice and stringent theoretical undertow.

Even artists whose work, by contrast, seemed more ludic and theatrical - Maurizio Catellan, the Chapman brothers, an ever-enduring Jeff Koons - shared a taste for slick, expensive, mechanized output. And in fact, looking back, there's a certain synchronistic poetry to the fact that Marc Quinn's 'Self' portrait, a principal icon of the era, quite literally froze the blood.

Further tendencies underpinned the general sense of pristine, chilly surface. Graphic design in the late 90s exulted in the hard edges of its newly perfect digital genesis, while on a popular level, serious flirtation with 'minimalism' induced homeowners to replace comfort with pristine surface and spacious void.

Clearly, any attempt to rapidly define a moment in art history is doomed to over-simplification. A vast array of artists stand in lush counterpoint to Hirst's surgically steely cabinets or Whiteread's pale, negative spaces. The work of Peter Doig, Marlene Dumas, Daniel Richter and Jörg Immendorf - to name just a few - all manifest an obvious delight in exuberant mark-making or absorbed, painterly gesture.

Yet it's certainly true that what generally made the headlines - the dissected sheep, the on/off lights, the unmade beds - were essentially 'conceptual' works that side-lined direct artistic intervention. And it's also true that, with the internet truly coming of age in the '90s, such highly publicized aesthetics became instantly and widely accessible for the first time in any history. In the mass public eye, art had gained a hard, new edge.

Yet elsewhere, a wildly contrasting vision was being far less well documented. On America's West Coast, in particular, the long-gestating seeds of a brimming alternative scene were beginning to bear considerable fruit. Its influences were multiple and diverse, yet shared the fact that all lay well outside the contemporary mainstream.

In LA, for example, the 'underground' drawings of Ray Pettibon - linked initially to the rock scene then distributed through short-run zines - had garnered fervent admirers throughout the late '70s & '80s. A major exhibition in 1992 succeeded in raising his profile both throughout the States and abroad.

Yet Pettibon's work was merely the best-known facet of a burgeoning counter-culture. One which, since 1986, had found a major advocate in the now legendary La Luz De Jesus gallery in downtown LA.

This space, located incongruously above an offbeat gift store, focused entirely on artists whose backgrounds and influences sprang from an array of popular cultures such as illustration, folk art, comics and tattooing. And this output, crucially, tended towards an intricate figurative craftsmanship more closely associated at the time with illustration than so-called 'fine' art.

The gallery and its stable of artists proved a speedy and influential local success, and in 1994, Juxtapoz, a magazine founded by Robert Williams (himself an artist and friend of famed underground artist Robert Crumb) also began to showcase this growing wave of alternative art.

Utterly at odds with the rarefied, theory-led aesthetic dominating contemporary practice at the time, this new sensibility came to be regarded as a movement. Its roots and position were defined by not just one label, but two: Low-Brow, or Pop Surrealism.

Resolutely populist - bordering, even, on kitsch - its appropriation of popular style and content within a fine art context questioned long-held assumptions regarding the parameters of art itself. Revisiting the earliest tenets of Pop Art, it nevertheless totally dismissed that movement's later associations with Warholian mass production.

And in San Francisco, too, similar trends were at work.

In the 1990s a group of artists including Chris Johansen, Clare E Rojas and Barry McGee emerged to form a distinctive new scene. Their work, though sharing much with the Low-Brow phenomenon, differed in several important respects and became known as the 'Mission School' in recognition of its essentially San Franciscan flavor.

Local influences contributed to a more whimsical, looser approach to image-making than LA tendencies at the time. Street art such as graffiti formed an intrinsic part of the scene, but was generally refined into a figurative rather than textual medium. The legacy of underground comics pioneered by the likes of Robert Crumb was also evident in cartoon-like characterization and a witty, humorous edge.

More importantly still, while painting lay at the heart of the Low-Brow movement, drawing was much more widely adopted by the Mission School artists.

In a nod to the hand-drawn agitprop and pyschedelia of '60s Haight-Ashbury, they revived techniques such as detailed patterning, hand-lettering and découpage. Materials, too, were frequently unconventional; ball-point pens, markers, recycled paper, wood or metal all found a part in the Mission School look.

This 'regional' distinction was clearly underlined in publicity for a 2000 show at LA's New Image Gallery:

SAN FRANCISCO DRAWING SHOW curated by: Alicia McCarthy and Chris Johanson. May 19 - June 17, 2000.

Straight out of San Francisco, drawings of over 15 artists will be exhibited .... Currently there are important artistic trends developing out of San Francisco. Drawing is at the root of this development.

Meanwhile, however, America's East Coast found itself forced (for once) to gradually acknowledge a nexus of creativity occurring elsewhere. While many commentators, curators and gallerists became increasingly aware that some kind of real cultural shift was taking place, others seemed slow or simply unwilling to recognize its impact or legitimacy.

Yet the growing appeal of Low-Brow and related work - especially amongst a generation of new and emerging artists - was undeniable. New galleries opened to deal exclusively in the genre, and Juxtapoz, along with many of its featured artists, began to acquire a cult following. Its international distribution and the broad reach of the internet helped ensure that this new sensibility filtered beyond the US.

The 'unofficial' Californian scene gathering pace in the '90s was intrinsically linked to a rejection of prevailing artistic practice - the notion, as Fred Tomaselli later put it, "...that people are a bit tired of the over-rationalism (sic) of the art world, this idea that you can get to everything through the cerebral."

Yet its ethos was otherwise hugely democratic and unifying, a statement of validity for neglected or side-lined art. There can be little doubt that its emergence provided an impetus behind the current interest in drawing.

But this interest - and with it, the resurgence of a particular kind of artistic engagement - was not, of course, solely confined to America's West Coast.

Elsewhere in the States, Laylah Ali's first major show of meticulously patterned, faux-naif works took place at Chicago's MOCA in 1999 (she had been featured, along with Chris Johansen, at New York's Drawing Center in the summer of 1998).

Julie Mehretu, likewise emerging towards the end of the '90s, fused painting with drawing in a myriad of complex mark-making, while Canada's Royal Art Lodge, formed in 1996, produced whimsical drawings, paintings and objects reminiscent of the Mission School's output.

In Europe, similar trends were also underway. As the 20th century drew to its close, Sweden's Jockum Nordstrüm was gaining recognition for his beautifully rendered, twisted tableaux of far from ordinary life. Switzerland's Marc Bauer produced vigorous drawings that exemplified the medium's strength, and in Britain the hand-drawn zine was adopted by Olivia Plender, albeit in a highly polished form.

While drawing, obviously, had never disappeared entirely from the gallery, these artists represent just a few of those contributing to its rapidly growing visibility towards the end of the '90s. A resurgence now so evident that, though prompted by certain definable factors, it nevertheless seems organic, almost essential; a phenomenon that quite possibly identifies as well as answers very current needs amongst today's young artists.

And what are they?

Well to start with, drawing is cheap. For those struggling with the high costs of studio space and materials, it's a medium that's financially viable as well as a manageable means of production.

What's more, it's hugely inclusive. Everyone, at some point, has experienced the act of drawing at some level, a participation which affords even the most casual observer a sense of involvement in the medium; a visceral engagement in its use that conceptual art forms often lack.

Yet despite this refreshingly egalitarian glow, it also appears that much of today's output seems directed towards highly individual, even arcane expression, a practice exemplified by intricate, almost obsessive mark-making.

On the one hand, this wholly supports an ethos by which today's artists seem to demand an intimate, personal and evident engagement with their art.

Painstaking detail and labor-intensive mark-making represent artistic endeavor for which the artist alone is responsible. No third-party construction teams, no assistants on hand to dab a brush as directed. This art is about making in the purest possible sense.

A parallel explosion in use of craft elements - beading, glittering, collage, embroidery - as well as the growing popularity of zines and artists' books - mirrors this quest for hands-on, highly personalized involvement.

Yet more intriguingly, demands for creative ownership may well serve needs besides a revision of artistic involvement.

Art, of course, has always been about reflecting and interpreting the world, but the early 21st century seems to have experienced a particularly profound re-appraisal of exactly what the world involves. The outlook is an uneasy one, marked by a growing sense of schism and dislocation, and in particular, the notion of circumstance veering out of control.

To return briefly to Pop Surrealism, true to its 'surrealist' label the movement is marked by subversion of apparent reality. Typically, this takes on disturbing, anxiety-ridden form; bio-morphed figures inhabit scenarios laden with threat; an undertow of violence is darkly enhanced by imagery plucked from childhood.

And importantly, unlike Surrealism, which investigates the interior spaces of the human psyche, Pop Surrealism obliquely focuses on physical, actual realities. Those genetic hybrids, ruined landscapes and constant simmer of threat don't merely exist in our nightmares. They're with us now.

The movement itself may have had its day as far as the art market is concerned, but the zeitgeist it portrays is clearly here to stay.

Consider, for a moment, Jean Dubuffet's famous description of L'Art Brut

"Those works created from solitude and from pure and authentic creative impulses - where the worries of competition, acclaim and social promotion do not interfere - are, because of these very facts, more precious than the productions of professions. ... we cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to be the game of a futile society, a fallacious parade."

Though written in the 1950s, the proclamation reads now like a perfect manifesto for the kind of anti-establishment art scene we've been discussing. Yet quite apart from epitomizing a 'purer' alternative to the mainstream, the kind of art Dubuffet describes now carries connotations far beyond those of his original assessment.

The 'simplicity' of naïve or folk art harks back - in popular nostalgia at least - to carefree, less complex times in which a sense of place and purpose were clearly defined. It's little wonder that its revival coincides with acute apprehension regarding our own, turbulent times.

By contrast, much outsider art is clearly associated with not belonging - a characteristic most evident in its embrace of art produced by the mentally ill.

Yet here again there's a definite connection. Such work often originates through its use as a therapeutic tool; a fact that throws interesting light on the intricate, involved delineation of much recent drawing and painting. Indeed, in its conspicuous efforts to order, pattern and negotiate space, such complexity provides almost casebook examples of conflict-solving Gestalt.

More interestingly still, a significant proportion of contemporary practice doesn't just seek to interpret complex realities, but actually sets out to create them through construction of highly personal, alternative worlds.

Paul Noble's well-known drawings of fictional 'Nobson Newtown' are devoid of human figures, yet imbued with visual invention and idiosyncratic textual comment. A clear intention is to provide a reflection of the mind of their maker: as Noble himself puts it, "town planning as self-portraiture".

Other artists' fictional worlds provide similar arenas for grappling with issues that echo or parallel our own.

Michael Whittle, a recent graduate from the Royal College of Art, creates intricate drawings melding religious iconography with motifs garnered from heraldry, alchemy and science. The resulting images, snapshots of impossible states, underpin the artist's own desire to "make sense of reality" while also investigating "... man's attempts to come to terms with existence".

Camille Rose Garcia (whose practice, though largely identified with painting, includes much drawing) is well known for deceptively enchanting visions of what amounts to a near-dystopia. A recurring cast of characters battle to save or destroy a poisoned, dying world. The baddies, unfortunately, seem to be winning.

Art today appears to be grappling with a spiritual, political and therapeutic function that arguably, it hasn't reflected quite so clearly for centuries. And the fact that drawing, the most immediate and spontaneous of mediums, forms a vital aspect of the interpretation of a complex world should come as no surprise.

Postscript: Drawing right now - who we're liking

The energy of the California scene continues apace, with San Francisco still arguably the epicentre of new drawing - check out the wonderful work of Sara Thustra, Sacha Eckes, Andrew Schoultz and Simone Shubuck (a San Francisco native, though now resident in New York).

LA practice remains particularly diverse, but artists who make exciting use of drawing include Travis Millard, Adam Janes and Gina Triplett.

Elsewhere in the States, we enjoy the work of Carter, Aurel Schmidt and UK-born Dominic McGill (best known for his epic, 65ft 'Project for a New American Century').

In Europe, Richard Höglund produces interesting drawings informed by semiotics, and in the UK, artists of note include Sarah Woodfine and Adam Dant (the latter have both been recipients of the Jerwood Drawing Prize.

Most exciting of all, newcomer Laura Oldfield Ford creates large-scale, beautifully rendered drawings with astute political commentary at their core, as well as the cult zine 'Savage Messiah, an extraordinary foray into the psycho-geographic terrain of London.

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As we all know that no one is born a talented artist. Even many of the famous artists have acquired their skills with the brush and perfected it for so many years to reach the peak of success. If anyone get inspire to create a beautiful painting on a white canvas, it means its an addictive hobby, and then suddenly that inspiration start getting converted into shape, figure, emotion, expression in numerous colors.

To know more about art one needs to understand ART first. What is art? In simple words art is the use of skill and imagination for the works of art. Art can be a basic form of communication. Just as a dancer sways to a rhythm or beat, an artist picks his brush to color an unfruitful white canvas to make it fruitful.

We all know that we have a budding artist within us. We never try to explore it; we hide our skills, never give chance to give it a platform. Art is really so simple that it does not require any specific qualification, any fixed age or any

privilege skill to start with.

All what we need is the time and our own ability to nurture it. One can start learning art at any time. Art can be a good exercise to relax our selves. Art is the way from which we expressed our feelings, ideas, skills, imaginations, and oncepts on a peace of canvas.

Art have so many forms like drawing, sketching, painting, scribbling etc. Many talented people take their art form to another aspect and create unique paintings.

Now learning about Art is extremely easy. Slowly developed it as a hobby, art can easily become a profession. By reading this you may arise with a question??Question is …….

Can Anyone Become An Artist?

Yes, according to me anyone can become an artist. What we need is the proper medium which can help us to create works of art, the right use of pencil, pastels, watercolors, charcoals, oil paints and acrylics. Select the subject, any subject that give pleasure to your eye is just right for your painting. It could be a nature, scenery, photograph, animal, any other painting, just about anything, which pleases your creativity in first attempt.

This is your chance to explore yourself, make a space in the world of art, and bring out your true spirits for art.

How to start with?

1. You can join any art classes, any short term courses in university near by you or join any painting workshop.

2. Chose a subject that inspires you to create a beautiful painting.

3. Don’t get disappointed even if you are not able to do the painting as per the subject, but try to make it.

4. See the subject from all the angles, Just don’t sketch out everything that has to be painted.

5. For the first attempt you may feel little bit bore, but slowly you will get into it and you will gain interest.

6. while drawing keep your mind open, will help to learn so many new things

7. In painting you can use your imaginative colors. For example grass is green but it could be red or yellow too. Sky is blue but it could be orange, grey, or any other color.

8. Painting will give you the excitement but it is not always possible that you will complete the work within a day.

9. May be you would jump on another subject, simultaneously in the meanwhile.

10. Keep good focused on the painting, anytime you may feel that your interest is fading at that moment leave it for sometime.

11. As such there is no deadline to finish a painting. It is not a job which should get completed in between nine to five.

12. Use eyes and hands to draw. Do not go by the mental image that forms in the mind. You will never get it exactly the finish.

13. Try to be keep teacher around you to help in areas where you are likely to be stuck.

14. It is not necessary that everything will go right at the first time. Sometimes you may waste time and some art material but then you will learn more and generate more good art pieces.

15. Painting is always learnt through trail and error

16. So don’t give up yet if it has not worked out. There is always a new subject to work on.

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#1 TIME! The number one most important thing to remember is that YOU WILL BE RUNNING LATE.. Plan for it! If you need to be ready by 1:00 be dressed and ready by 11:00. Plan for about a 2 hour difference in real time and wedding time. It’s a freaky twilight zone reality that does not exist in any other form other than in weddings. THINGS WILL HOLD YOU BACK! It’s weird but true. So it’s better that you are dressed and ready early even if you’re sitting around in your hair and make up… gives us more time to shoot more awesome pictures! So it’s a win/win! The last thing you want is to be stressed out all day and not enjoying the beauty of everything you've planned so meticulously because your manicurist was really slow. Do not be the last person to get your hair done that day because your girls’ appointments were first. You need to be one of the first appointments. I can shoot the girls later but not you. Make sure get your hair done really early.. Hairstyles are notorious at quoting short times for hair sessions. If they tell you an hour for hair it will be an hour and forty five minutes. Make up artist are almost as bad. Have your manicure and pedicure done the day before… also make sure to exfoliate your face the day before. You make up artist should have told you this. Do a full body exfoliation if you can the day before it will leave you glowing for you wedding day. Make sure if you have never exfoliated before that you do it at least a month ahead of time in case your skin is ultra sensitive and it makes your break out. That way you know whether you’ll have a bad reaction.

#2 Meeting your fiancé ahead of time. I know that this is a very sensitive subject for many of you. I know that you want him to see you walking down the isle for the first time. So.. Seeing him or not seeing him? That is the question? Like everything involving your wedding, this is a very personal decision, which means it weighs entirely on your individual preferences. There is no pressure one way or the other. I believe that we can make the meeting just as special if not more by having you meet ahead of time. We can capture the moment with the perfect romantic setting and lighting. We can set up a scenario where you meet that adds another moment of mystique and wonder to your beautiful day. Also, having this time to be together can help diminish the stresses of the day. You guys can focus on what’s really important, as opposed to the many details that must fall into place. As a result, your love for one another takes center stage. And this can happen no matter what the setting. It definitely comes across in the photographs.

#3 Getting ready at the same hotel. This one is a biggie for me. I love to tell the whole story and sometimes because the bride and groom are getting ready at such for away locations I can then, only tell one side of the story with depth. If you guys book a room the night before you can each wake up relaxed and refreshed and ready to start your getting ready process. Plus I can shoot both of you getting ready. I can tell your story and well as his. Choose a beautiful hotel that has a garden area or beautiful lobby where I can take your down to shoot your pictures of you alone, you with your parents and also with your girls! Then I can do the same for him! Plus I can use the location to shoot your wedding dress, shoes and accessories. It’s much better than shooting in a home that’s messy with wedding chaos or a backyard. One last thing ...usually hotel rooms have big windows that allow in more natural light which translates to softer, prettier pictures as you guys get ready!

#4 Schedule some time for sunset pictures. The most beautiful, most magical time of the date is sunset or sunrise I call it “The sweet spot.” I know that most of you are not morning people. So if you can... try to schedule a little time for your and your loved one to get away for some sunset pictures. Skin is creamier, softer and more beautiful. The light is warn and there are less harsh shadows. So if you can do it schedule about 20 minutes outside of our regularly scheduled picture time for some sunset pictures. As you can see in the photo on the bottom left the sun is still very high up in the sky, the shadows are dark especially under the eyes.. But the rest of the photos are soft and warm, much more flattering.

#5 Well lit reception. Now this tip is one that many brides don’t put much thought into and I think in makes all the difference in the world in regards to your reception images. You see... a camera doesn't see the same things that the human eye sees. You may think when you walk in to a reception area that is lit with just the standard light that it looks bright enough, but have you ever noticed when you take a picture indoors usually all you see is the peoples faces and black in the background. Well, we “drag the shutter” which means that the camera will try to capture as much light as possible from the background but if there is little light then the camera is going to capture black. But if you use twinkle lights and candles (lots of them) and as much lighting directed towards tables and walls then the camera has more to capture. So go crazy, get some Chinese lanterns or get your DJ to add your monograms to the dance floor with lights.. It all helps as you can tell below. The brighter the light the better. I know that Dj’s are often trying to dim the lights for your first and other formalities but this does not have a nice effect on the images..unless they have a cool spotlight or something of that sort. So this is something that you may want to discuss with your dj.



#6 The ring shot. One little thing that also makes a difference is ….when you are putting on your rings, please be aware that I am trying to shoot it. So tilt your hand a bit so that your audience and I can see it. It really pays off at the end and looks beautiful in your album. If we are outdoors in plenty of light I will usually get in really close and do a shot of just the hands. This looks spectacular and really adds to the story of your day.

#7 The Kiss! The kiss, the finality, the end to your gorgeous ceremony. The moment everyone waits for! So take your time Don’t rush through. I’m not saying you guys have to slobber all over each other. Just take it slow. You should probably practice. Maybe he can slow dip you or anything. Make it romantic and unique. If you take your time during the kiss it usually allows me to take a close up and a full body shot depending on the lighting situation. If it’s outdoors I can do a sequence set of more than 2-3 pictures. Make sure that you are facing your profiles towards your guests. You could put your hands on his face for part of the kiss, but please be sure that there are no arms around necks. This usually blocks the whole kiss... Not so good.


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People often refer to “the classic rules of photography”: “This photo follows the classic rules...” or “he/she broke all the classic rules...” etc. But what are those “classic rules” anyway? I gave it some thought and came up with the following five rules, all longstanding and time-honoured, like you would expect when something is called classic. But nothing is set in cement and rules such as these have been violated with superb results over and over again. But they are also there for a reason, since they probably represent something that most people mostly find pleasing most of the times. Not everybody all the time. So what are they, these classic rules of photography:

Rule #1 : F/8 And Be There!

This is rule number one and it has little to do with your camera and technical proficiency, as is the case with the other four rules. Read this rule again, breath it and live it. As simple as it sounds, it is the most important of all rules in photography.

The part about f/8 refers to a camera setting, or rather a lens aperture setting. It’s a technical detail and it’s not really important. But at the same time it’s what makes this rule so memorable.

It’s not a bad advice using f/8, it’s a pretty standard value and often safe to use if you want to be sure to get your subject in focus without giving it much thought.

But it’s true value is that it boils all the complicated art and tech issues down to that simple 1-letter-1-number statement, f/8 (simply read f eight), the hidden message being: Forget the technical aspects, concentrate on the subject. Simple and brilliant.

In my experience it’s mostly used in the context of spot news photography, where it’s certainly important to be on the spot when something happens. But I wouldn’t forget about it in the context of normal peoples lives, peaceful landscape photos and even photos for the family album. Whatever photo you want to capture, you have to be there first. You have to get up and go out, walk that extra mile, lose that hour of sleep, do whatever it takes for you to get there with your camera.

A talented, but lazy photographer is not necessarily as successful as a very active, less talented one. Because you have to be there.

Rule #2 : The Decisive Moment

A term coined by photography legend Henri Cartier-Bresson. Sort of a time-version of rule number 1. Together we could call these two rules: “Being in the right place at the right time”.

But there’s more to this rule than just being there at the right time. You have to press the shutter button at exactly the decisive moment, when all the elements of the photo (perhaps including the photographer himself) suddenly come together in a fraction of a second. A blink of an eye and it’s gone again. The man jumping over the puddle has touched down again, the guy in the background has turned his head away from the kissing couple and the dying soldier has fallen flat to the ground.

It happens so fast that it’s hard for us to see and react to before it’s over. But that is one of the big charms of photography. It can capture these fleeing moments and make them last forever -- on print. For Cartier-Bresson it was an intuitive thing. “Think before and after you take a photograph, not while you are doing it.”

Sports photography arguably has a lot of decisive moments, but in my book they don’t really count, since it’s just a game and not truly a slice of reality. I know Cartier-Bresson in his book set off with quoting someone “there’s nothing in the world that doesn’t have a decisive moment”, but I don’t want to get into the discussion here. Many people who are more sports enthusiastic than me would probably disagree with me, but I do think that there’s more real decisive moments to be had on the stadium seating than on the pitch.

Rule #3 : Go Close

-- And when you’ve done that, go even closer! Coined by another photography legend, Robert Capa, who died following this rule, camera in his hand, as he stepped on a landmine in the French-Indochinese war. But not all situations of course are life-and-death situations. So use it whenever you reasonably can, and your photos will in many cases have a stronger appeal and give a more intimate connection between the subject and the viewer.

Again, it’s not just for spot news photography. If you are portraying normal life, it is equally important to get close to people. Get into their homes and into their private lives where they are themselves. Do it in a way that isn’t prying and offensive. It will give you an honest and intimate view of life.

This rule usually implies using a wide-angle lens, which tends to give a more “open” perspective. Much good can also be said about the long tele-photo lenses as well, and they have their place. Especially in fields like wildlife and sports photography, where it is often impossible to be up close to the action.

Rule #4 : The Rule Of Thirds

This is one of these rules that are great to follow and equally great to break. But photography would be a lesser thing without it. Briefly stated, it tells you to place you main subject, not in the center of the frame, but a little to the left or right side, a third into the frame. And also to place any dominating horizontal lines in your photo, like for instance the horizon, a third into the frame from the top or bottom. Just not in the center.

This will arguably give your photo a more appealing look, pleasing to the eye by leaving a significant space on one side of the subject for the surroundings. The rule, also known as the divine proportion and the golden mean, have been used by painters for thousands of years. Having survived that long, there’s got to be something about it!

Rule #5 : Use The Light

The magic hours, the hour around sunrise and the hour around sunset have a particular pleasing, soft light that works particular well for landscape and outdoor photography. It’s always the light that creates the photograph. For indoor and portrait photography, use a barn door or, if you don’t live on a farm, a big window without direct sunlight will also do. Place your subject close to the window and you will get a nice, soft light from different angles falling onto your subject. You can get the whole studio lighting set-up as well if you prefer not to rely on the constantly changing natural light.

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Painting is an aesthetic representation of the imaginative mindset of a painter. This form of art exerted tremendous influence on the society since its inception several thousand years ago. Painters are like alchemists who can make formidable creations intermingling colors on a piece of canvas.

It is through painting artists of all ages portray the conditions of the mainstream society, the various ethos, culture and traditions. A work of painting can best reveal the good and evil of the everyday life and urge the common people to be good in thought and action so that the society becomes beautiful and beneficial to the mankind.

Originated as a creative pastime as cave depictions by our early ancestors, painting has undergone several alterations with time. The history of painting clearly indicates the various transformations of paintings from cave paintings to watercolor paintings and oil paintings.

The use of colors and shades are very important in painting. As a melodious music is not possible to originate without appropriate rhythm similarly a work of painting does not get life without perfect shades. Painting is a spontaneous manifestation of the true self of an artist; it speaks out his heart through the tinges of colors.

The Renaissance period (14th C to 17th C) is perhaps the golden period of arts and paintings in Europe. Renaissance classicism imparted a realistic touch to the paintings. The painters had good concepts on light, shadow and human anatomy and this made their art more appealing and communicative.

Luminaries like Leonardo Da Vinci, Michelangelo and Raphael stirred the world through their world-class paintings during this time. Da Vinci’s Monalisa is a painting unsurpassed down the ages.

With the establishment of various schools and movements of arts emerged the various theories on arts like abstract expressionism, art deco, constructivism, cubism, impressionism, modernism, neo-classicism, post modernism, romanticism and surrealism.

These gave birth to various painting forms like abstract paintings, figurative paintings, landscape paintings, collages, calligraphy and digital paintings. To an artist a painting is the enlivening of his soul on the canvas that transgresses all theories and echoes the great words of Keats – “Beauty Truth, Truth Beauty’.

For more information on painting browse other links of Ethnic Paintings

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Black and white photography has it’s own charm. Colours are great, but they can create a disharmony of clashing colours and draw attention away from shapes, textures and compositional elements in your photograph. If these are more important to you than colours, consider converting your picture into black-and-white. In the old days before digital photography, you had to decide before you took the picture weather you’d want to use a colour-film or a black-and-white film. Today, with a few clicks in an image editing program you can turn colour into black and white.

There is several ways of doing this in Photoshop, which this tutorial is based on -- similar effects can be achieved in most other professional image editing programs.

Just click on ‘greyscale’ or alternatively set the colour saturation to zero. Slightly more advanced, use the ‘channel mixer’ and tick the check-box called ‘monochrome’. But the most powerful way of converting your colour photo to black-and-white is a rarely documented method using a combination of ‘colour balance’ and ‘saturation’. Using this method is slightly more complicated, but ever so much more powerful. You have complete control over how your colours are transformed into black and white. Here’s how you do it:

1. First turn on the ‘layer box’ (Windows > Layers).

2. Click on the little ‘adjustment layers’ icon in the bottom and choose ‘colour balance’. Click OK when the dialog window opens.

3. Click ‘adjustment layers’ again, this time choosing ‘hue/saturation’. Immediately, set ‘saturation’ to zero and push OK.

Your image is now black-and-white, but here’s where it gets really neat:

4. Double-click on the adjustment layer you created in step 2, called ‘colour balance’.

You now have the possibility to adjust each of the 3 sliders to the left and right, thereby adjusting the way each of these colours are transformed into black and white! This has the same effect as using a colour filter in front of your lens and can make some colours stand out compared to others. Reddish skin-tones, the blue sky, the green grass and foliage, all these and more can selectively be lightened and darkened in the black-and-white rendition, giving you great control over contrast and texture in your photo -- much more powerful than the other greyscale-options that leave average red, green and blue colours with the same boring grey.

But wait, there’s even more: Notice the 3 small radio buttons in the bottom saying ‘shadows’, ‘midtones’ and ‘highlights’? By default the ‘midtones’ is selected, but selecting one of the other two allows you to only adjust the darkest or lightest tones respectively. A good use for this is when you wish to bring out some of the details hidden in the dark shadows of your image. Choose ‘shadows’ and make sure the ‘preserve luminosity’ check-box is NOT selected. Then crank up all 3 sliders by the same amount and voilá, your shadow details come to light!

5. When you’re done, select ‘layers > flatten Image’ on the main menu and save the result!

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Prehistoric men painted animals for many reasons. Is it so strange that present day Artists are serious about capturing animals in their artwork? Painting different species seems to be an inherited trait for some and Laura Barbosa is no exception.

What does this have to do with "Hearts of Therapy"? Everything… if we take the time to see what is going on right in front of our eyes we would notice that our beloved dogs are more than just primitive canines and capable guards. They are therapy dogs with a heart whom are doing great work in our local community and have been featured in 3 giant paintings which are gaining much popularity and raising awareness for a local community concerned with health and healing.

In 2007 Laura Barbosa had been previously published in an article written by Zach Patberg in the Asbury Park Press of Monmouth and Ocean Counties in NJ entitled: "Art Of The Dog"

Ms. Barbosa has been working on 3-24"high x 48"wide acrylic paintings on canvas featuring 12 life size working therapy dogs of various breeds that currently work in our local community hospitals, nursing homes, psychiatric facilities, schools and other locations in Ocean County NJ where emotional service dogs are indispensable.

"I hope to help the patients heal through my artworks! The dogs in this painting are well known in our local facilities and visit the very patients who will be viewing the originals and whom love the dogs dearly and count on them to boost their moral, help them heal and lower their blood pressure."

Laura’s idea was to present a local facility with these works of art in hopes of raising money for The Bright and Beautiful Therapy Dogs, Inc. The Community Medical Center in Toms River NJ was chosen by the Artist because they totally support the use of Therapy Dogs in their Hospice, Oncology, Pediatric and Out Patient Programs. As of February 28, 2008 The Community Medical Center purchased the three works of art. The permanent display will begin March 2008.

"The idea was to create Beautiful Uplifting Artworks for the hospital and to increase public awareness to help diminish the existing breed specific stereotypes. The original paintings are priced at $2500 each and donations will be sent to The Bright and Beautiful Therapy Dog organization to help keep these special canines in our facilities!."

In conclusion, most will be surprised to see what types of dogs are included in these paintings! The most scrutinized and misunderstood are among the breeds on display. These paintings are more than just beautiful artwork, they make an important statement and are meant to educate the public and try to eliminate stereotypical prejudices against certain breeds of dogs in our society.


The Art of Laura Barbosa Website

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May 29, 2008 underscored the 60th anniversary of London taxi for its successful taxi manufacturing for six decades now. The celebration began yesterday at the Private Hire and Taxi exhibition, held at The Ricoh Arena, Coventry.

According to reports, the well-experienced company has obtained an enormous deal since 1948, since the time when the very-first London taxi has gone to the Coventry plant. Other LTI highlights during that time include the creation of the Frisbee and the launching of the World Health Organisation by the United Nations. After that period, the automotive firm has distinguished over 100,000 taxis roll off the production line which includes the FX, Fairway and TX series. The group had a good time in front of presentation guests alongside the media with the traditional cutting of a personally baked cake to commemorate the remarkable occasion.

These vehicles can be spotted operating on the streets of London at present, in several towns and cities in Britain, and some can be seen around the world. Today’s talk of the town model from LTI is the TX4 taxi which is the most recent version of the legendary vehicle. The TX4 along with its great auto parts, has received vast positive response from its rising customer list.

LTI Vehicles is generally acknowledged for developing one of the world’s most legendary vehicles. The company is dedicated to constantly develop on their taxis to provide drivers and passengers a taxi service with stunning car parts that is highly desirable for others.

“As we celebrate this important milestone we are able to celebrate the past and look forward to the future. From the launch of the FX3 back in 1948 to the present day, LTI Vehicles has seen many changes in the development of its purpose-built taxis to meet the needs of the professional taxi driver,” says John Russell, CEO, Manganese Bronze Holdings PLC, LTI Vehicles’ parent company.

“This is an important year in the history of LTI Vehicles. The agreement with Chinese auto manufacturer Geely is progressing nicely with the finishing touches being applied to the facility near Shanghai. The development of electric and hydrogen fuel cell vehicles also shows our commitment to improve our environmental credentials and gain a competitive advantage in an expanding global marketplace. All this makes for an exciting future both at home and abroad.”

“We look forward to continuing this success to ensure that the next 60 years are as successful as the company’s first,” he added.

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There are so many art exhibitions around that sometimes your own exhibition can get overlooked. When organising your next exhibition use your opening function to create something interesting and innovative. By coming up with an imaginative hook or angle you will be assured of getting more visitors through the door.

The majority of sales happen during the opening function therefore take full advantage of this opportunity to maximise dollars. Entice as many guests as possible to your event to increase your chances of sales by both shear numbers and by creating an illusion of demand.

Increasing visitor numbers can be achieved simply by having a drawcard at your opening function, such as inviting a VIP guest, having an unusual and interesting hook, unveiling a special artwork, or holding a competition.

1. VIP Guests

Everyone wants to meet someone famous. So inviting a VIP guest to your opening function is a sure way to get people to attend also. By association your visitors will automatically view your event as something special and important too -- just like your VIP. If you don’t know anyone well-known ask your friends, family or work colleagues for contacts. Someone is bound to know a sports celebrity, actor, musician or politician.

During the event make your VIP feel important and special. Offer them refreshments, introduce them to other important guests, and mention them warmly during your speech. A few days after the opening function follow up with a letter of appreciation.

2. Interesting Hook or Angle

With a little imagination and creativity you can make your opening function really special by adding an interesting hook or angle. Perhaps you can adopt an unusual hanging method to display the artworks; incorporate an interactive art installation which guests can ‘play’ with; include a multi-media display using video or sound; or hire a live jazz band to create atmosphere and ambience.

Art exhibitions can become very flat and static, so adding an extra dimension can be very beneficial. Not only will you increase visitor numbers, but you guests will see you as an interesting, innovative artist and perceive your artwork as a worthwhile investment.

3. Artwork Unveiling

Turn your opening function into an extra special event by unveiling an extra special project. This will create anticipation and excitement as your guests wait for the presentation to take place. You could unveil a major artwork which you have spent a lot of time on, something you have prepared for a special charity cause, a collaborative project that many artists have participated in, or a memorial piece to acknowledge a worthy event or person.

Create maximum impact and splendour by rigging up a curtain in front of your artwork. Attach lengths of ribbon to the curtain so it can dropped at the precise moment to reveal the master piece to your eager audience.

4. Competition

People love getting something for free so a competition is a sure-fire way of getting people to attend your opening function. Start the competition at the beginning of the evening and finish it at the end. This will encourage your guests to stay longer, which will in turn increase your chances of additional sales.

Be imaginative with the competition question. Consider your exhibition theme, use wit and humour, and incorporate logic and problem solving into your question to really get the conversation going. At the end of the evening get your VIP guest to announce the winner and present the prize.

By using a little imagination and creativity at your art exhibition opening function you can increase visitor numbers, enhance sales, create interest, and generate enough excitement to ensure guests come back again for the next exhibition!

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The Bootmakers Cottage

My uncle Morty left Lauragh, in southern Ireland in 1936, at the age of 19, to experience life in London. Soon after arriving he wrote this poem then became seriously ill with suspected food poisoning spending many months in hospital. Whilst in hospital his brother, my Dad,(Michael) organised to collect his belongings from his temporary lodgings. Morty asked Dad had he seen the poem after his recovery but unfortunately the poem had vanished during the move. Dad then travelled to Australia and one day, found the long lost poem. On returning to Ireland in 1989, after being away for over 40 years he presented Morty with the poem who was delighted to have his cherished poem again! The painting 'The Bootmakers Cottage' was inspired by this poem and my visits to where these two men grew up and learnt their trade as cobblers.The small room to the right of the house is where the two men learn't their trade from their father.

'A Summer Survey of Lauragh'

'Sweet Lauragh glistening in the twilight morn, its' sparkling streams the rising sun adorns ;

Environed by the mountains everywhere, gave to the west, enchanting Kenmare's bay.

Its' mountain paths and fragrant woodland dales, clear lakes and rivers, where the anglers stray;

Wild thickets haunted by the buck and doe, unrivaled beauty everywhere we go.

No busy streets, the visitor finds there, but emerald fields and leafy winding lanes;

secluded glens and distant mountain caves, where eagles built their nests in bygone days.

Wild, narrow, rough, romantic shepherd's ripening golden gorse;

No sleek factitious art could ne'er augment the beauty lavished in those solar glens.



The cooling shades of fan-like trees - 'Deeren'. It's woodland paths, the nature lover's dream;

Wild rhododendrons aglow, amid the mass of blooming flowers along the sylvan paths.

Lush lawns of vivid green and shady bowers, reflected in the winding bay beneath;

And o'er the rustic arch of moorland bridge, the tangled wildwood and the golden fringe.



Meandering rivers gently gliding on, their grassy banks, the wild flowers trail along;

The pleasant scent of hay that is new-mown, and cattle sauntering o'er cream tinted loam.

How countless stalks do tremble, bend and sigh, when cooling zephrys now go whispering by;

And that sweet strain and symphony unchanged, is natures music "Breezes in the grain".



On yonder mountain, winding Healy's pass, with crimson-tinted summit "Croom Cnoc".

Bringing the smiling landscape nearer the eye, and Glenmore's lakes , serene, a rare delight.

The dim discovered peak of mountain 'rioch', with dazzling border in the shimmering heat;

Its' bosom robed in flowers and clustering palms, unfolds a picture of exquisite charm.

And no; at eve one suddenly beholds, those solemn glens profoundly alone;

For now the fast declining sun has gone, to lend enchantment to the vale beyond.

The glimmering landscape fading now from sight, and twilight shadows deepening into night;

When star filled sky and silvery moon unite, to brighten up that peaceful paradise. "
A poem by Morty O'Shea, 1936.

A poem by Morty O'Shea, 1936.

View Painting of the Bootmakers Cottage http://www.seanoshea.com.au

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The Saatchi gallery, opened by Charles Saatchi in 1985, is a London gallery for the exhibition of contemporary art. It is one of the best venues known for young and fresh artist to express or expose his/her work to the world. Works of local and international sculptors, painters, photographers and multimedia artists are displayed in this gallery. Saatchi gallery also introduced the open-access section, well-known as Your Gallery, where artists can upload arts and biographies onto their own page. On a given year over sixty million visitors around the globe access this venue using it as a medium of expression and acquiring knowledge. Furthermore, a tally reveals that there have been 1,000 school visits. Isn’t it jaw dropping? This gallery aims to encourage the art professionals and also holds valuable source of information for upcoming art fairs and exhibitions.

With its increasing popularity and people’s keenness towards art new moves have been adopted to notch up success in higher level. The gallery is presently refurbishing a 50,000-square-foot space to make it more spacious for art lovers. The architecture capacitates to enfold a bookstore, a coffee shop and also education purpose room for students inside the newly built building. Saatchi Gallery stands apart from conventional laws of art and based upon the principle of egalitarian approach which directly inspires the art connoisseurs. This London based gallery is open for every age and interest group and efforts are made to prop new and previously unexhibited artist and acts as a springboard for their careers.

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You wedding day is one of the most important milestones of your life! You spend a fortune on flowers, stationary, place cards, a gorgeous wedding dress, a make up artist and so much more. Your personality, your style, who you are goes into those details.. maybe you like elegance or maybe you like dots and stripes and lopsided cakes. Whatever, and whoever you like there is a wedding photographer out there for you. There are photographers who shoot in different styles that would do a more adequate job capturing your day the way your envision.

The most popular styles of wedding photography in today's market are...

1. Photojournalism
Photojournalism is the art of capturing moments unobtrusively. Normally you barely know that the photographer is there. He/She normally covers weddings with large telephoto lenses (although not always) and tries not to get in the way of the story as it unfolds. They normally don't like shooting posed family photographs or posed bride and groom photographs preferring to capture moments as they really happen. This style of photography takes mastering. The photographer needs to know their equipment extremely well and it basically needs to be an extension of their body. If you are going to hire a photojournalist make sure that they person has many years of experience as it is a difficult and artistic method of photography.

2. Illustrative
This photography is usually a creative person who loves design and elements of color and texture. This person will pose in new and different ways, maybe laying the bride on the floor or shooting from strange angles. The photography will set up fun posed shots and instead of just posing and shooting they will have the subjects interact together to capture spontaneous moments. This style of photography brings more of the photographer into the photography. This photographer's artistic vision and use of lighting, design elements and texture is more artistic. They do not just wait for things to happen and capture them. They will often makes things happen.

3. Traditional
Although traditional photography still has it's place in the modern photography world it is being pushed aside by more illustrative and photojournilistic styles of shooting. You see more traditional photographers that are older and have been in the industry a long time and have not changed their ways or you will see it in the lower end beginners as it is any easy style of shooting that does not take much creative input. Tradition style photography is posed and can follow a photography list. It is stiffer in it's style and does not allow for mush spontaneity. This is sadly a dying breed. Although most photojournalists and Illustrative photographers still do some posed photography especially during the posed family shots with the bride and groom. So it still has its place.

The best photographer is a photographer that has the ability to shoot photojournilistic and can capture most of the day as quickly and masterfully as a true photojournalist but that will still give you the fun artsy look of an illustrative photographer. Someone that will prompt some fun stuff and still be able to do posed family shots for mom.

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Photography is way of object that reflects your observations from focus of light. It’s a simple type of object that is created by drawing rays and intensity of light.
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Are you an amateur photographer and keen on knowing the secret of capturing flawless pictures like a professional photographer?

If you are passionate about photography and enthusiastic about using your digital camera with optimum effect, then read on. In this age of cutting-edge technology, digital cameras have gained an exceptional foothold in the international gadget market.

Today, we can find digital cameras almost in every hand. However, it is not a digital camera that necessarily ensures a brilliant photograph. The person who operates the digital camera is largely responsible for the outcome. Whether you are a newbie or a seasoned photographer, the following tips can help you improve your photography skills on a digital camera.

There are primarily two important aspects to taking good photographs with a digital camera such as proper exposure and sharp focus, although both of them are closely related to each other. Hence, most of the modern digital cameras have the automatic feature to facilitate a good photography output. However, sometimes the auto exposure technology fails to read the scene correctly leading to wrong exposure and bad photograph. Therefore, it is important for you to learn how to use the exposure compensation feature of digital cameras.

The shutter speed of your digital camera greatly affects its output. Shutter speed of a digital camera essentially means how long the shutter stays open which is usually expressed in fraction of a second such as 1/30th or 1/400th. Typically, the slower the shutter speed, the higher the chances of the picture becoming blurred.

So, if you have set your digital camera in the automatic mode, make sure the shutter speed is 1/125th. This is because it`s tough to expect a good picture with slower shutter speed. Conversely, if you want to take photograph of a moving object, the shutter speed of your digital camera needs to be set at 1/400th to nullify the motion. Besides, if the automatic mode of your digital camera doesn`t show a shutter speed which is quick enough, you should switch it to shutter priority to manual.

There is another critical aspect to taking good pictures with you digital camera, i.e., aperture setting. Explained in a layman term, it basically means how wide the shutter opens when you take a photograph. There is a trade-off between shutter speed and aperture setting of a digital camera.

For instance, if you increase the shutter speed to get avoid the blurring effect in your pictures, the shutter should open wide enough to allow enough light. This could considerably affect the results. Hence, if you want to maximize the depth of the field, take the pictures with a slower shutter speed. If your purpose is to shoot objects that are not moving, you should set a small aperture. Incase, you are shooting a moving object, choose higher speed.

If you are wondering what the secret behind some professional nature and landscape photographs is, then you will be surprised to know that they are taken on a tripod to minimize the camera movements. Shooting under inadequate light condition requires slow shutter speed and use of a tripod. Also you can use a tripod with a small aperture and slow shutter speed to shoot better photographs on a sunny day.

Another secret to capturing magical photographs with you digital cameras lies in following your object. Try planting your feet firmly and bracing your arms strongly against your sides. Then follow the moving object by slowly turning your body. This can dramatically improve the performance of the pictures although the background might get a bit blurred.

Capturing good photographs with your digital camera requires experience and creative imagination. However you should learn the tricks of using all the features of your digital camera to produce astonishing pictures. After all, a digital camera is only as good as the pictures that you capture. Hence, know your camera inside out.

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Prehistoric men painted animals for many reasons. Is it so strange that present day Artists are serious about capturing animals in their artwork? Painting different species seems to be an inherited trait for some and Laura Barbosa is no exception.

What does this have to do with "Hearts of Therapy"? Everything… if we take the time to see what is going on right in front of our eyes we would notice that our beloved dogs are more than just primitive canines and capable guards. They are therapy dogs with a heart whom are doing great work in our local community and have been featured in 3 giant paintings which are gaining much popularity and raising awareness for a local community concerned with health and healing.

In 2007 Laura Barbosa had been previously published in an article written by Zach Patberg in the Asbury Park Press of Monmouth and Ocean Counties in NJ entitled: "Art Of The Dog"

Ms. Barbosa has been working on 3-24"high x 48"wide acrylic paintings on canvas featuring 12 life size working therapy dogs of various breeds that currently work in our local community hospitals, nursing homes, psychiatric facilities, schools and other locations in Ocean County NJ where emotional service dogs are indispensable.

"I hope to help the patients heal through my artworks! The dogs in this painting are well known in our local facilities and visit the very patients who will be viewing the originals and whom love the dogs dearly and count on them to boost their moral, help them heal and lower their blood pressure."

Laura’s idea was to present a local facility with these works of art in hopes of raising money for The Bright and Beautiful Therapy Dogs, Inc. The Community Medical Center in Toms River NJ was chosen by the Artist because they totally support the use of Therapy Dogs in their Hospice, Oncology, Pediatric and Out Patient Programs. As of February 28, 2008 The Community Medical Center purchased the three works of art. The permanent display will begin March 2008.

"The idea was to create Beautiful Uplifting Artworks for the hospital and to increase public awareness to help diminish the existing breed specific stereotypes. The original paintings are priced at $2500 each and donations will be sent to The Bright and Beautiful Therapy Dog organization to help keep these special canines in our facilities!."

In conclusion, most will be surprised to see what types of dogs are included in these paintings! The most scrutinized and misunderstood are among the breeds on display. These paintings are more than just beautiful artwork, they make an important statement and are meant to educate the public and try to eliminate stereotypical prejudices against certain breeds of dogs in our society.


The Art of Laura Barbosa Website

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Claude Monet French Impressionist Painter
     In my student days in New York, I frequented the Museum of Modern Art on the 58th St. Every time I visited the Museum I had an impulsive urge to spend at least 2-3 minutes watching the water lilies of Monet. It was a fabulous painting and no matter how many times I looked at it, it never got me bored. 
     Monet was one of the first to paint landscapes by looking at them with the newly marketed oil paints in tubes which made painting outdoors feasible. As he painted he became fascinated by the seasonal changes on the same landscape. The changing nature of trees, vegetation, sky and clouds caught his perceptive mind. He painted the same scene again and again in different seasons and at different times of the day. In doing that he perfected how to render the season’s impression on the canvas. His ability was recognized by the art critics of his time and they labeled his art as Impressionism. With his prolific paintings, Impression became the style of the day. 
     Why does his impressionist style attract you even today? I think because our landscape memory is the recollection of its impression stored in our mind. Monet painted not the landscape but its impression on his mind as he kept seeing it. He simplified the vision making it easy for us to recollect it. And that is why his paintings are classics. There is something which we learn about art when we see his work.
     Monet painted a model named Camille. They had a child Jean in 1867. Three years later in 1870 they got married. Camille fell sick in 1875, produced another baby boy in 1878 and died of Tuberculosis in 1879 when she was only 32. They were then sharing a house with Alice and Ernst Hoschede in Vetheuil. Claude continued to stay in the same house even after Ernst Hoschede became bankrupt and left for Belgium. Alice helped Claude by taking the two Monet boys to Paris where she had her own six children. A year later in 1880 she came back to Vetheuil to live with Claude. After her estranged husband Ernst died, Alice married Claude in 1992.  Alice died in 1911. Jean Monet, Claude’s first son who married Alice’s daughter died in 1914. Claude began to be troubled by cataract which affected his paintings. He had 2 eye operations. He died in 1926. But though his family life was a turbulent stream, Claude Monet maintained his peace with nature and brought out the beauty of his soul in his landscapes.
     Monet was a great artist of all times. His wonderful scapes can radiate a creative ambiance in any place whether it be a home or an office. And this is reflected in the prices his paintings fetch in art auctions. Recently his work “The Railroad Bridge at Argenteuil,” painted in 1873 fetched a record price of $41.4 million! 
     I have had the opportunity to select a few of his painting photographs and compile them in a calendar. This is an easy way to put up Monet and his sense of beauty on the wall and make him a part of your everyday life. You can watch a slide show from here:  http://www.youtube.com/v/N8nEc2yAu7o 
     The calendar is available at    http://www.lulu.com/content/2548691 
Dilip Dahanukar,   30th May 2008

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The art, culture and lifestyle of ancient and medieval India is best reveled through miniature paintings. The penchant for religion, divinity and regal aristocracy is ostentatiously illustrated in these paintings. Though miniature in form, the paintings had an innate beauty and distinctiveness that made them stand out of the crowd.

Crafted by the regional artists these form of paintings narrate the stories of the bygone dynasties. Purely a brush work, these vibrant handmade paintings were the outcome of some dazzling minerals and vegetable colors. Gold and silver powders, conch shell powders and tiny pieces of semi precious stones were used in a miniature painting to make for the extra glow. It is for this luminous capacity, meticulousness and the universal appeal the paintings are very popular even today.

The themes of the miniature paintings were generally taken from the scenes of Indian epics and religious books like The Ramayana, The Mahabharata, The Bhagvata Purana, Git-gobinda, Surasagar, Rasamanjiri and more. Images from folk legends, classical music codes and royal court scenes were also beautifully illustrated in the paintings. Glass, fabric, marble, paper, silk, velvet, leather and ivory panels generally served as the canvas for the paintings.

This rare form of painting gave birth to some noted school of paintings namely The Deccan Schools, The Rajput and the Mughal Schools.

The Rajput School of Miniature Painting imbibed inspiration from the Krishna legends. The emphasis was more on the man and woman relationship and paintings were aesthetic portrayal of their emotion, love and passion. The lovemaking scenes of Lord Krishna and Goddess Radha are some of the finest specimens of the paintings. The Mughal School of Miniature Painting had Persian influence on them.

The painters focused mostly on court scenes, royal portraits, natural scenes and landscapes. The Deccan School of Miniature Painting derived a kind of hybrid painting form blending several styles of painting. The paintings manifested exuberant and bold themes influenced from Turkish and Persian paintings.

Visit site Ethnic Paintings to find galore of paintings and interesting information on miniature paintings

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