I enjoy photographing artists showing their art around Chicago and its suburbs. New postings happen on Tuesdays, maybe not every Tuesday, but I'm trying.
Arlene Marks at her show opening at The Seasons Retirement Community in Northbrook, Illinois. Earlier in the Chicago Tonight, WTTW filmed a lengthy interview with her. View this interview here.
NS: Do you call your style pointillism?
AM: Well I also went for art history because I realized I didn’t know anything about art history. So that was good for me because I could always refer to things. Then I got a studio right after I graduated with two other women in a classroom in Glencoe. My first body of work was just 8 paintings of Wrigley Field they were all around 48-55 inches. They were all exactly the same painting but I just used different colors as the season progressed and I gave them different names like the first one was a little dull looking and I called it “Well here we go again”, then each one had a little more color and then the last one was winter and I called it “Well, there’s always the Bears and next year”. They were nice and I showed them downtown. The next thing I did was my Wrigley Field.
AM: When I did the big Wrigley Field series I dotted the sky for some reason, and then I dotted all the gravel and I liked the way it turned out and from there I went on to do my big heads and I dotted their faces but not what was around them. Then after that I went to the cemetery series and it was all dotted. Riverview was all dotted.
NS: So it just grew into more and more into the whole picture, that pointillism.
AM: But I call it dottism, he was a master. He – Seraut – he would, Sunday in the Park, do hundreds of drawings of different portions, he studied it and he did a lot of preparing and everything he did is a masterpiece, so I just liked is work – he died very young, 32 or something. Since I was not Seurat, I decided to call it dottism, I made up my own word.
NS: I see that you have been in a great number of galleries.
AM: I was only in two galleries and they both closed after I showed there. I was in a lot of shows though.
NS: Do you have any advice for artists who want to go in to galleries.
AM:I would say use the technology because we used to have to send hundreds of slides, but now all they do is use the internet.
NS: How did you pick the shows you were in?
AM: Well there was a heads show, and I had painted Phyllis Bramson, so I sent them a slide and she was in that show. There was a show at Oakton College and I sent them a bunch of my heads and they kept them up for several months and they were up in the lunchroom. I had several shows for my Wrigley Field; three major shows the whole piece. One was at goose Island, one was at the Ukrainian Museum and the other place was the Illinois Department of Transportation in Springfield, which was a big one. They had me on television and in the papers. Then I had twelve paintings on television when the cubs were in the playoffs and they took twelve of my paintings and they put them up in the background and there they were in front of the commentators, who were interviewing famous ball players, it was very exciting, I even went and got their autographs.
NS: You’re currently in a critique group. With women who are all painters? Do you bring paintings?
AM: I have been in that group for 10 years. We help each other a lot. Most of them have had art shows; one of them just opened a gallery in Highland Park.
NS: So these women in your critique; you still learn from each other?
AM:Yes, sometimes you bring something in and you know something is wrong and you think they won’t see it, but it is the first thing they see. At this point, I would bring these in and they would just clap, and that never happens. Because of what I did, and how I did it, they are very proud of me, to all of the sudden start painting again.
NS: It sounds like, to give advice to other artists, to be in an art community or a critique community is very helpful.
AM: It’s wonderful, I look forward to it, and I still go. I had them come here once and we had a critique here.
NS: So tell me about the work you showed today, these are people on the staff?
AM: Yes, today was mostly people on the staff. There is one person who lives here. She is like 99 years old and I did a wonderful painting of her. She was like, “what am I doing here, what is this for”, you know, she is getting forgetful.
NS: You take pictures of these people?
AM: The first 8 I painted I only took pictures of people who lived here. They were 80 years old and up, one was 106. That was my first 8 paintings, and they turned out good. Channel 11 was here, Jay Shefsky and I set that up myself.
NS: Thank you Arlene for this interesting interview. More images of Arlene's work can be seen at http://chicagotonight.wttw.com/2014/02/04/elder-portraits
Ishaan Vadhera, @iVadhera, holding up a pen and ink sketch from his latest sketch book on September 19, 2014 in front of my home in Mount Prospect, IL. Yes, that's right . . . this interview is a little different because he wants to interview you! Why? Because he is an artist with an entrepreneurial mindset. He is a "Reality Hacking Social Athlete", and works as the Digital Presence Specialist at yourbrandvoice.com. You've gotta love their site's headline: Word of Mouth Marketing. Amplified.
Calling Artists, Creatives, Entrepreneurs, etc . . . what would you like to ask Ishaan? Ask it below in the Comments box and Ishaan will return a "comment."
Carl Wilen standing in front of his painting, “The Mediterranean Eye” during his opening reception, on September 6, 2014 at ZIA Gallery in Winnetka, Illinois. The exhibition ran from September 6th through October 11th 2014. Mr. Wilen is exclusively represented by ZIA Gallery.
Readers please note: My interview with Carl Wilen resulted in a transcription of 6,114 words. He described the unique stories of many of his paintings on display and his life’s work as an art educator. I will be posting several installments, including one about his friendship with Dr. Martin Luther King, Jr. Below begins an edited version of my conversation with Carl Wilen.
NS: Thank you for taking the time today to talk to me about you and your art. To begin, please tell me about “The Mediterranean Eye.”
NS: I should be video taping you so the readers can see where you are pointing.
CW: . . . are some of the ornaments, not on the Pantheon, but from one of the Spanish pieces of architecture. So I made a truncated pyramid out of that ornament and then I opened it up. Because of my love of billiard playing, I put those in there with a cone and the eye with the Pacific in the background. Here is a bird sitting on top of the maze, I love birds.
My grandson and I went to the Field Museum once and we walked into one of the scientific aspects of it and they had a ball and track structure there. The entire gallery was filled with a stainless steel track and balls and they just kept running and running and running. We got back to my studio and my grandson was very interested in that and so I started using the track and ball as part of this. So what I’ve created was a labyrinth - it’s questionable as to what’s going on here - then I have the track and ball running through and then running around. Then of course the Spanish design; and then created this situation where it’s relatively believable because of all the architectural drawing I did when I was in college.
NS: Were you trying to express some social commentary with it - something of the times or your situation?
CW: Well, in terms of the complexity of the times and raising questions about things in general . . . but I did things that I was interested in. I did constructions when I was in architectural drawing - I created my own architectural forms. Then from world travel some of the buildings and the ornamentals, I like that. Then the grid of a map, or a chessboard. All the things that I was interested in, I put in here, in various ways.
I still can’t explain why it works, but I put things in that I was interested in. Where I thought I had like a regular routine or consistency, I decided I’d put in an element that was alien to it - birds in relation to a maze, an architectural maze. The eye there as a monument to the whole thing. So it was really my joy of the animal kingdom, architecture in general, and then the amazement of the seascape and the landscape and I just put those together. To this day, I cannot, as much as I try, explain why I put this here and that there and that there and that there. Sometimes I explain these things and people marvel at them and I sound like I am braggadocio. You reach a point where you realize that it is fundamentally a gift. I did this because of things that I built as a child, simple things, and buildings that I have seen and for some reason they come together; I put them together like this, and I found that the different combinations of shapes and forms were kind of exciting because nobody had ever seen something like that.
I took some art history and was very interested in surrealism, which always emphasized the unique and the unbelievable and the dreamlike. They put things together that you would never believe and painted them. They were startling, but they were like questionable.
About three weeks ago, I was watching a TV program on the one thing that human beings cannot control. This was a panel discussion and the scientist said - human beings cannot control their dreams, that’s one thing they can’t control. They asked one of the surrealist, where is surrealism going, he said that one of the things that is going on is in the movies and TV advertising. I was watching one where a family is walking down the street and they come to the end of the edge of the curb, and they are waiting to cross the street, and the street in front of them, in New York City, and all the buildings turned up this way and all the buildings were in dimension and they stood there looking up and I’m thinking that’s surrealism - how could that happen anywhere?
I live in Charleston, Illinois and we go to a coffee shop on the main street there which is a shortcut route for semi-trailers to go further north and some of the trailers that they pull are like 53 feet long, and the one that struck me yesterday was when a furniture truck went by. An entire painted interior of modern furniture, 53 feet long, went by on the truck and I thought - how surreal is that. Photography in the modern era has done so much, it is surrealist basically, but we don't use the word surrealism anymore, that’s an ism of the past. But it sure had its influence.
NS: How about the people in your paintings; do models sit for you?
CW: In the painting involving the people, somebody gave me a half-person, model of a person. I use that for all of my figurative painting. I’ll put a light on it - I’ll draw a crude figure and I can put the light on that manikin, and get the shading and shadowing and then I can do it to the figure that I made and it comes out looking relatively realistic. So it is a combination of putting things that normally you wouldn't think of how to do it or what to do with it and then I somehow take that as a challenge and put it together.
NS: I "googled" your name before arriving today. I understand ZIA Gallery represents you. Your artwork and detailed background information on you is found on several of their social sites. Readers, to see his art up close and personal, please visit the following:
Dana Todd Pope in front of her painting in her booth at the ART FAIR & MARKETPLACE during the 36th Annual Chicago Jazz Festival in Millennium Park, Aug. 28-Aug. 31, 2014. Gallery Guichard represents her art.
NS: I've been enjoying chatting with you about how you have established yourself as an artist, a business person and creating a community of artists who share and help each other. From our conversation, I would like to ask you the questions you just mentioned to me . . . When did you know you were an artist? And why?
NS: When were you willing to say you were an artist? Why?
DTP: It took me writing a business plan and being represented by a gallery for me to feel comfortable saying that I'm an artist.
NS: Thank you Dana. Is the painting you are standing in front of a part of a series? What's the name of this painting?
DTP: No, no series. This painting is called "Shift". I call it a visual reminder that you have the power to choose happiness. I created this painting after one thing after another was going awry in my day. I had a chat with myself about staying positive and not letting the weight of negative thought get the better of me. I "shifted" my thoughts and decided to have a better day . . . and I did.
NS: I can so relate. Your comment also reminds me when I'm in my lost world of doing my own art and not feeling pleased/confident between my mind's eye, what I'm actually seeing and what my hands are producing. I lecture myself to just continue because eventually I will be pleased---and what a great high that feeling is. Anyways, along with visiting Gallery Guichard, where are other places people can see your art?
DTP: My studio at the Lacuna Artist Lofts (2150 S. Canalport Ave., 5C4) in Pilsen, various festivals, charitable events, Public venues, and home shows. A complete list of upcoming events and more information can be found on www.danatoddpope.com or "like us" on our Facebook page, Dana Todd Pope Fine Art.
NS: Oh, I wonder how many artists write a business plan? Hey readers, is there a template for that?
John Krienitz in front of his painting during his artist’s reception on June 20th, 2014 at Positive Strokes Art School and Gallery. John and Kathy Carter-McLin were the featured artists for the month of June.
NS: You are standing in front of one of your oil paintings, right? The majority of your work here is in pastels. What is it about drawing in pastels that you love so much?
JK: I like pastels because I think I can draw better than I can paint. Art is a challenge for my faith. God gave me this talent, and I'm still waiting for his guidance to direct my path in Art.
NS: Your work seems photo realistic. What is it about yourself, as an artist maybe, do you think that you only want to draw or paint what you see?
JK: I can see details that might distract from my interpretation of what I see. Everyone tells me to loosen up, but I'm not listening just yet.
NS: Thank you John.
Readers please note: It was a very busy artist reception for John and Kathy. I barely got a chance to chat with either of them. If you wish to get in contact with John, please leave a comment below or contact Positive Strokes.
Nelson Armour in front of one of his photographs showing in the group exhibition "Photography NOW" in ZIA Gallery, Winnetka, IL. The photography exhibit runs from August 2-30, 2014.
NS: Hi Nelson. We were talking before, and you were telling about working in the dark room. Now you have switched over to the digital dark room and you say that you enjoy that too. Do you still feel like you are “developing” your photograph?
NS: Did you teach yourself the digital darkroom? Did you go to workshops?
NA: Both. I started just myself and then I took a variety of classes.
NS: Where did you take your classes at?
NA: Well, in Lincolnshire there was a camera store, that no longer exists, called Digital Effects, and they began running very outstanding classes in Photoshop. So with my wife, we took two different series of these classes. That was a more formal setting, we had homework and it was multiple weeks, and it was pretty serious study. Then, I ended up taking a range of other classes through the Chicago Photography Classes. They were using Lightroom, and at first I resisted the notion because I had spent so much time learning Photoshop, but then I quickly understood how both of those pieces of software could be used together. Now I freely use them as a pair of software, and I know there is other software out too that you can integrate into that and one day I may expand.
NS: When you were taking your series of classes at Chicago Photography Classes, being the accomplished photographer that you are however, you said that you started with Photo I, did you feel you picked up some things--about how to use a digital camera or more about the digital aspect of it, the developing aspect?
NA: When I first approached it, I felt that perhaps I would be able to jump over Photo 1 into more advanced classes. When it became clear that starting in Photo I that was the system in place, I just decided I was going to get the most out of it. I just kind of came in with a positive attitude and jumped on Photo 1 and just tried to learn, if they were new things to learn, or explore the things I already knew but explore them in different ways. I approached each of the classes in that way. With that series of classes, I must have taken four or five of those courses by now. It got me at a more serious level, it got me more invested into my photography; that was what I was looking for at that point. I wasn't thinking of going to graduate school or doing an MFA or something like that. I wanted to take structured classes that required me to really produce and think and move forward. I approached each of the classes with that attitude and I really feel it did move my photography forward very well.
NS: That is quite a compliment as you have been with photography for so long, and you say that it got more serious . . .
Hi readers, wow this is getting to be a long post. I usually only post two questions/topics from an interview, however, the topic of critique--being critiqued and critiquing interesting. I hope you do too . . .
NS: Nelson, you said you belong to a critique workshop.
NA: A critique group.
NS: A critique group, and that has influenced your work. Through the critique group . . . go back five years ago . . . imagine shooting and developing it digitally, and now when you look at this more recent piece behind you, what do you see?
NA: Well, it is kind of interesting. So I belong to this critique group that is at Jane Fulton Alt. We probably have ten to twelve photographers. Some of them are professional photographers, day in and day out. One of them is a physician who is a photographer. We all bring different things. I had done a series of images in the Great Smoky Mountains. I was down there; my wife was teaching at Arrowmont which is an arts and crafts school in Gatlinburg. So I went out into the Smokies and I brought back my images; and they were images of waterfalls and other things. The conversation in the critique group really revolved around the mood, and in some of the photographs there was a greater mood presented. Others were very beautiful, but they didn’t quite resonate to them. So, in the series that I was taking when I was in a different environment; these were taken in New Zealand on the South Island in the Southwest corner of New Zealand.
I really had that conversation totally in mind when I was photographing this. I was really attempting to visualize this incredible moss forest, these mosses go back -- their origin is about 350 million years ago. I was just trying to imagine . . . this is like one of the most remarkable environments I have ever been in in my life, and I have been in many. I was just trying to visualize how could I establish the mood and the feeling that I was having at the time I was photographing it. So, the conversation in the critique group really informed how I went about photographing this forest as we travelled in it. So I think that is a great question, and in this particular image there is a very direct relationship between conversations when I presented my other work and this work.
NS: Thank you Nelson it was fun chatting with you. Where can we see more of your work?
NA: Thank you Nancy and for letting me know about your upcoming exhibition at Positive Strokes in October. My portfolio is at nelsonarmour.com.
Hey Readers, do you like having your work critiqued? Do you give critiques and/or judge for juried shows?
If the above image isn't displaying, click the icon and then click the center arrow to take a tour of the Re-invent Gallery in Lake Forest, Illinois showing "Beautiful Life" photographic exhibition by Caitlin Collins. What do you think? Should I do more of these during future interviews?
Caitlin Collins standing in front of one of her favorite photographs during her opening reception, "Beautiful LiFe" on July 25th, 2014 at Re-invent Gallery in Lake Forest, Illinois. The photographic exhibition runs from July 25th - September 6, 2014.
NS: What do you think the similarities and differences are between a fine art photographer and an artist? You were saying that you are a professional family portrait photographer and this fine art exhibit of yours is one you just recently put together.
CC: As an artist I have picked my specialty as a fine art photographer. Being an artist is how one uses color, and composition to express the world they see around them. I use my fine art background to create fine art family portraits, as well as my photographs that come together to create the Beautiful LiFe exhibit
CC: A fine art photographer. That's a very interesting question. Because, right, when you think fine art, I suppose it would be painting and sculpture; things that have been around for thousands of years.
NS: We have a new art medium to work with.
CC: I love fine art photography being film, because you have more of a hands on process with producing the final piece of art, than with digital.
NS: So in digital photography, do you digitally develop your work?
SS: Right, everything is on the computer . . .
NS: Do you do your own printing?
CC: I used to, I don’t anymore just because of the time frame and how much space it takes up, and all of that, so I unfortunately can’t produce it myself.
NS: Here is another question. How do you think your experience doing this series will effect doing your next series for another gallery exhibit.
CC: Because I did several different elements, now that I am seeing everything up on the walls, I will be able to do more localized portions of each one and expand on those. I am excited to be able to do that.
NS: Caitlin, where can readers see more of your work?
CC: I use Facebook, Instagram, and ofcourse a my own website. They are:
www.csavillephotography.com
https://www.facebook.com/C.SavillePhotography
http://instagram.com/csavillephotography
Note from the author: I recently bought a new phone having a virtual tour mode as part of its default camera app. Please see a virtual tour of Caitlin's work in the Re-invent Gallery.
Wait there's more . . . Hey Readers, I bet you have have thoughts on what you just read . . . how about adding them into the comments box below --->
Hi Everyone! It's me, the author of ArtistsOfChicago.com blog. How many times have you wanted to write a "letter to the editor" because of something you were reading a magazine, paper, online, etc.--but didn't? I have many times and I finally did!
The imagery of what I wanted to express just poured out through my tapping thumbs. Later that day, I was floored when I received a response saying they want to publish it in next month's magazine . . . AND . . . asked me if I was interested in writing any articles for the PSA Journal.
Here's my response, published in PSA Journal's August 2014 edition:
Response to Cyril Mazansky's Letter to the Editor
The following is my response to Cyril Mazansky's letter to the editor in PSA Journal 's July 2014 issue regarding the most effective way to learn how to develop images using software.
It has been my observation for over 25 years that brick and mortar (classroom) instructor-led learning for adults is the most successful way for the adult learner to apply, use, and remember the many commands and keystrokes to enhance or manipulate digital files. The trick is to understand the user interface--where the menu command types are located. Also how the software thinks--what does holding down the shift key plus a command vs. control key plus command do.
Equally important is to learn how to find out what you, the student, don't know. I've been writing software user guides and teaching software since the 1980s. I've been certified as an Adobe Certified Instructor and Adobe Certified Expert in Lightroom®. Looking over the shoulder of a student, watching how he/she is using the mouse, keyboard, what sections of the screen is being looked at and reading the guide/taking note tells volumes on how the student is comprehending how to apply the software to the image on the screen. As an instructor I rarely see a student lookup a feature, or an idea on how to achieve a look in the provided user guide, or via the Help menu, or "google" the question/problem.
Typically, attending training labeled as a seminar, workshop or class consisting of meeting a handful of times for two hours is not learning, just a lecture. An excellent way to learn software and the most cost effective is attending a series of courses offered at a community college. Many colleges offer design software courses through their Business department and their Art department. I suggest attending the Art department's courses. The course catalog description may describe a course as learning some design concepts, even though it's learning a specific software such as Lightroom. I suggest visiting the art department's office and talking with someone to find out details on their courses. Classes can be taken for non-credit (I have found adult learners shy away from having to be graded), and senior discounts are offered.
And please, you, the student, speak up, ask questions, and have the instructor come and look at your image on the screen and ask his/her opinion on what needs to be done. Don't let the instructor take over your keyboard. The best way to remember a sequence of keystrokes, effects of using a mouse or tablet pen is for you, the student to do it while the instructor observes what you are doing right or wrong.
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Again, Hi Everyone. Do you have any questions, comments? Do it. Do it . . . respond the 21st century way . . . tap away in the comment box below.
Urszula Lelen in front of one of her photographs during her artists opening “Beyond Limits” June 6, 2014, hosted by Karolina Kogut in Café Prague, Chicago. The photography exhibit ran from June 4 – June 20, 2014.
NS: I know are an accomplished painter, an art student all your life. And now, in the past few years you have focused your talents on photography. Now through using a camera, what is most important to you in the pictures you create?
NS: Your exhibit is titled "Beyond Limits". Why did you choose this title?
UL: Beyond Limits - is a project that was an attempt to capture the fleeting moment through the fabric, what in this moment became a border or a limit . . . but the topic of the exhibit is not only about the material barrier of the fabric used. It is also about the woman's psyche and her inner spirit which is slowly and gradually exposed with each session. Women have become so strong in today's world that I believe they sometimes forget to nurture that feminine side of them: their sensitivity, tenderness and warmth.
NS: I'm sure readers would like to see your photographs and paintings. What are your online sites? And maybe hire you for their family portraits.
UL: Thank you, Nancy. My paintings are shown on urszulastudio.com and photography on facebook.com/UrszulaPhoto and on fineartamerica.com/art/all/urszula+lelen/all
Tracy Kostenbader in front of her “Triple Seat Production” (acrylic, charcoal, pencil, pastel, block print ink, water-soluble marker on 6 re-used canvases) at the opening event at the Salvage on June 21, 2014. AnySquared Projects and G Studio presents this special exhibition, “SALVAGE” in cooperation with The Plant, in Chicago. This group exhibition runs from June 21 - October 19, 2014. SALVAGE Exihibit Gallery Hours are every Saturday from noon to 4pm (free). Additional hours posted on exhibit page or by appointment: email [email protected] .
NS: Why did you choose this piece to exhibit at The Plant?
NS: I met you last April at Chicago's International Art Group salon. People were talking about you hosting an open studio day on Wednesdays in your studio, AnyWhere Space. I asked you how much $ and you replied nothing, bring your own materials or there's some there to use. As my son-in-law would say - You Rule! This is just the tip-of-the-iceberg to your commitment as a co-founder to AnySquared Projects. What's the driving force in you that makes you go beyond creating your own art - actively promoting/growing an artists community?
TK: I am an arts organizer as AnySquared, and as an artist, I do not see myself as separate from my community, but very much a part of it: be it my specific neighborhood, the whole city, or as a person on this earth.
I co-founded AnySquared with Brett Swinney as artist collaborative and network in early 2010. Because we are artists, we are also interested in making art part of the everyday existence in our community. We have been propelled by a deep sense of cooperation with our neighbors and fellow artists, and continue to produce art events, exhibits, and projects with the sensibility of working with others: as in the SALVAGE exhibit, where we collaborated with G Studio and artists to produce the exhibit, The Plant as the host venue, and the performers of the International Art Group Ensemble and musician Renato Anesi to create the opening event.
Almost 5 years ago, we established our weekly studio day as a standing event to promote people being part of art. Artists and Non-artists of all ages drop in to talk or make on a regular basis and utilize our studio day and supplies to create, meet, or brainstorm for future events.
When we organize exhibits or events, we generally connect with other arts groups or artists to create them. That connection is important to AnySquared and me as an individual artist. As a subversive concept to the status quo, we see ourselves not in competition with others, but in collaboration.
For me, art organizing is also just as important as making art. I strive to find a balance between the very individual process of creating my own work and the work that I do as AnySquared as an arts organizer. Sometimes I am lucky enough to do both at the same time!
NS: Thank you Tracy. I hope to attend more of your curated shows and interview exhibiting artists. Your website and social media links are . . .
TK: Thank you Nancy for attending the opening and talking with me today. Here they are . . .
Growing younger as one grows older is only successful if one is willing to continually ask questions, willing to fail in order to learn, and most of all -- be in awe of the greatness of the younger generation.
Rick Katz in front of his photograph titled The Wave from his series “Images of America’s Parks” during Sheridan Road Gallery’s, Meet The Artist event on July 6, 2014. Rick’s exhibition in Sheridan Road Gallery, Highland Park, IL will be on display from July 1 – July 31, 2014.
NS: Hi Rick. Thank you for contacting me last week to invite me to your show and interview you during your show's opening. A few minutes ago I over heard someone express to you how much he's enjoying looking at these landscapes. I didn't quite hear your reply. What motives you . . . you hope to express to people through exhibiting "Images of America's Parks"?
NS: When I first walked in today, you were explaining to a student of yours about the photographic quality you strive to achieve. You've been teaching Photo II at Chicago Photography Classes for a long time. What are these elements you were pointing out to her in these printed photographs?
RK: Hmmm. during the day, I spoke to so many people about the photography. I would have to guess that what I was telling her about included being in the right place when the light was right. I am a firm believer that capturing the image in the camera includes getting the right look, the correct perspective, the shadows and exposure so that all that is required in the computer are minor adjustments. What I was probably stressing to her was having an idea about what it is that I want to show before even taking my camera out of my pack. Usually it means walking around to check various perspectives then figuring out if I want to compress the distance or show the distance, which, f course, determines which lens to use. For sure, I told her that the images in this show have not been heavily adjusted in any of the programs I use. The one exception is the Grand Canyon panorama, which is two rows of nine images put together in Photoshop and then taken back into Lightroom for final adjustments. That panorama is about seven feet by two feet, so I wanted to make sure everything lined up correctly.
NS: Before I came here today, I visited your website, I saw you share it with your wife's watercolor and acrylic ink paintings at www.JREcreations.com. What does the 'E' in JRE stand for?
RK: JRE stands for Judy (my wife), Rick and everybody. We thought that it would be whimsical and gives us the opportunity to have other family members display on the site. Actually, two of our grandchildren took a series of butterfly images at the Chicago Botanic Garden when they were 11 and 9. The images were then in two shows, one in Skokie and one in Lincolnwood, so for a while, there were four of us on the website.
NS: Thank you Rick. Please let me know when Judy's work will be on exhibit.
