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Budget-Friendly Light Boxes |
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Written by Charlene A (Cat) Therien
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Wednesday, 11 January 2012 14:42 |
Editor's note: This is a companion article to the digital photography articles published in the IPCA Members Only section in January 2012. If you are not a member, please join today and take advantage of this exclusive content.
My daughter-in-law, Heather, is a professional photographer and videographer. Back in September of 2011, she offered to create a light box for me. It’s made out of inexpensive materials, but it works great. Ever since then, I’ve been very pleased with how much better my photos come out. I shared this experience on my blog, Fimo Fanatic, but I also wanted to summarize it here on the IPCA website.
The light box is made from a clear plastic box approximately the same size as a cardboard file box. The inside of the box is lined with white cotton muslin, and the box sits on a small portable decorator table that has removable legs. Two clamp-on gooseneck lamps sit on either side of the box, and a spotlight shines down from the top. I use a slanted piece of white poster board as the backdrop, or an assortment of silky fabrics, depending on what I’m photographing. This light box is portable – everything packs up in less than 5 minutes and will fit easily into a seat in my car. Cost: less than $50.00.
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Written by Suzanne Ivester
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Sunday, 12 June 2011 18:47 |
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IPCA Members Share Their Photos and Ideas about Sketching
 There are as many ways of approaching art as there are artists. Last year we asked members to share photos of their preliminary sketches and finished work as well as any thoughts they have about how sketching is important to their process. The responses were surprisingly varied! Some artists sketch each step in their process, including cane-making. Some sketches are just jottings of shapes and proportions; others include amazing detail, text, and color. These quotations and photos may inspire you to be more methodical in planning your work.
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(Not So Funny) Buffing Story |
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Friday, 30 November 2007 12:33 |
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I teach polymer clay at a local bead shop and have one student who has attended nearly every class. She is a diligent student and emails me quite often for help with her projects. Her most recent email describes a buffing experience that is so frightenly funny that it needs to be shared...and might hopefully also help to remind people about buffing safety as well! - Hazel Keyes-Frederick
"Guess what I learned today? NEVER, EVER, BUFF A GLASS VOTIVE ON AN AUTOMATIC BUFFER!!!!!!!
I thought I had a good grip on it, but lost it...it missed my head by a hair, and I watched it just barely miss the computer screen and a lamp as it flew through the window and the storm window (which of course were closed). Then I had to laugh at the insanity of it, because when it hit the driveway most of the clay shattered..but the votive didn't even break!
I hope your day is better than mine - I'm on my way to town to get my windows fixed."
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Written by Marcia Laska
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Sunday, 25 March 2007 08:08 |
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"I use polymer clay to make very large (2-4) dapping dies which I
then use in the making of hollow plastic beads."
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We All Need Professional Photographs |
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Written by Judy S. Belcher
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Monday, 19 March 2007 17:16 |
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Anyone wanting to sell their work or display their work needs professionally photographed images. We are all weekend warriors with our digital cameras but if you need to put your best foot forward you must seek out the help of a professional. That sounds and is an expensive endeavor. Photographers are artists and technicians. They will take many pictures to get you the two or three great images you want. Their time is worth every penny. They have spent a lifetime experimenting so you dont have to. Heres how one group of artists succeeded in getting professional photographs at a reasonable price.
We are a small group of artists who hired a photographer to spend an entire day shooting art in digital format. We checked his credentials carefully and sent him a written proposal. We asked him for a price for a days shoot and how many images we could expect to receive for that price, taking into account that we wanted 2 good images (which for him could translate into 15 or more shots) of a lot of different artwork. We took that price and divided by the number of images and decided if we could afford it as a group. We worked closely with that photographer and heres some things that worked for us.
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