Author Archive for Matt Kelley – Page 3

2016 Artistry In Wood Photo Galleries

Artistry In Wood 2016 Photo Galleries

Pho­tog­ra­phy by Marc Feath­er­ly

To vis­it the Gallery pages, click the links below, or the Gal­leries link in the menu bar to the left.

Artistry in Wood 2016 Carv­ing Win­ners — click HERE

Artistry in Wood 2016 Wood­work­ing Win­ners - click HERE

 


 

From “Ol’ Don’s” Drawing Table

OlDonFrom “Ol’ Don” Drawing Table

Ol’ Don” Burgdorf presents Carve-a-Troll

To print the pat­tern, click here; the pat­tern will open in a new win­dow, and should print on 8.5 x 11 paper. For Print­ing Hints, click here.

Ol’ Don” Burgdorf is a carv­er and artist from Hohen­wald, TN. Don’s fea­ture “Doo­dles ‘n Notes for Carvin’ Folks” appears reg­u­lar­ly in Chip Chats, and his pat­terns are now found in each issue of WOM and in past issues of Carv­ing Mag­a­zine. Some of Don’s “Chat­ter­ing Chip­pers” pat­terns can also be seen at the Woodcarver’s Porch pat­tern page.

Copy­right 2011–2017 “Ol’ Don” Burgdorf. This Pat­tern may be copied for indi­vid­ual use; repro­duc­tion for resale is pro­hib­it­ed with­out express writ­ten per­mis­sion.

From Pete LeClair — Hargrove

 

Pete LeClair

Pete LeClair’s Projects

Pete LeClair’s Hargrove

 

Pete LeClair is a well-known carv­er and teacher, author of three carv­ing books and a mem­ber of the Car­i­ca­ture Carvers of Amer­i­ca. You may learn more about Pete at his page on the CCA web site. Be sure to tour the rest of the CCA pages when you have a moment. In addi­tion, you may email Pete at pet­ele­clair AT comcast.net. Pho­tos copy­right 2001 — 2017 by Pete LeClair.

This pat­tern may be copied for indi­vid­ual use only; repro­duc­tion for resale is pro­hib­it­ed with­out express writ­ten per­mis­sion.

Notes From The ‘Net

Notes From The ‘Net

Ques­tions and Answers About Carv­ing Gath­ered From Pop­u­lar Carv­ing Groups

 Edit­ed by Matt Kel­ley

 

I was weed­ing through some old files recent­ly and ran across this ques­tion and series of com­ments that appeared in the orig­i­nal Wood­carv­er List mail group back in March 2009,  Although 8 years old, the infor­ma­tion is still quite use­ful.

On Taking Photos Of Carvings

Alex Bis­so posed the fol­low­ing ques­tion:

I have a recur­ring prob­lem with get­ting good pho­tos of carv­ings.  My stan­dard method of tri­al and error with the light­ing, inside and out­side works some­times but not con­sis­tent­ly.  On my last fish for exam­ple, I took one pho­to (after a cou­ple of tries) using a piece of light blue foam from an old camp­ing bedroll and the col­or and con­trast came out very well.  How­ev­er, when I tried to set up with a cloth maroon cloth back­ground to take more pho­tos, it looked good but my cam­era did not like it at all.  The pho­tos were either too dark or too bright and glarey and the col­ors did not look true.  There must be a way to set up for pho­tos that pro­vides a good back­ground and light­ing for true col­or with­out glare.  Can any­one sug­gest some­thing sim­ple and reli­able that might work.  

Byron Kin­na­man was the first to reply:

Get a pho­to cube.  It’s a white nylon cube that dif­fus­es the light and elim­i­nates glare.  They usu­al­ly come with 4 col­ored back­grounds and come in dif­fer­ent sizes.  I bought mine on eBay.   Sim­ply search on eBay for “pho­to cube”  there’s lots to choose from.   The best thing for pho­tog­ra­phy since the inven­tion of film.    

Alex respond­ed:

Thanks Byron — I will look into the pho­to cubes.  I will prob­a­bly still have ques­tions about light­ing.  

Joe Dil­lett wrote:

I think Byron’s com­ment about the pho­to cube is good. Oth­er things that are help­ful is always use a tri­pod. I always put some­thing white in the pho­to, even if it’s in the cor­ner that will be cropped off, so the cam­era has some­thing to use it for white bal­ance. Shad­ows help define depth. I like using one light source, gen­er­al­ly from the side, to show shad­ows. Nat­ur­al out­door light seems to be ide­al how­ev­er indoors the day­light type of bulbs yield good results.    Joe Dil­lett

Mau­ra Coop­er added:  

As for pic­tures, I just bought a new Nikon and the dif­fer­ence in my pic­tures is amaz­ing.  I also thank god for dig­i­tal cam­eras.  I often take up to 20 pics of the same thing, chang­ing the light­ing, chang­ing posi­tions, chang­ing back­grounds. Then load all the pics into my pc and pick out the best one or two.   

Ron Ram­sey penned the fol­low­ing:

If you want a pro­fes­sion­al look­ing pho­to­graph on a bud­get, fol­low these instruc­tions:
Set up a table or sawhors­es against a wall in a room where you will be able to block out all of the the light or to make the room dark at night. You want to be able to con­trol ALL of the light on your carv­ing.  Too much light in the wrong place will cause the col­ors to be washed out or the carv­ing to have too much glare in some areas.  This why it’s NOT RECOMMENDED TO TAKE PHOTOS OUTDOORS!

Go to a fram­ing store and buy a large piece of medi­um grey poster board.  Bend the poster board so that has a curve at the back and is ver­ti­cal against the wall at the top and hor­i­zon­tal against the table at the bot­tom.  Some thumb­tacks out­side the edge will help hold it in place.

Use a min­i­mum of two lights that have swiv­el bases and adjustable arms.  Use CFL bulbs.  Nat­ur­al light bulbs are bet­ter if you don’t plan on pro­cess­ing your pho­tos on pho­to soft­ware. The bulbs should not be more than the equiv­a­lent of 40 watts incan­des­cent.  The rea­son you need two or more lights is that you will need to direct the light from at least two direc­tions to fill the shad­ows.  You will still be able to get shad­ows to show the detail but there wont be areas that are lost in shad­ow.  Cov­er the light bulbs with semi-trans­par­ent trac­ing paper taped to the lamp­shades.  This is to dif­fuse and soft­en the light.  Pro­fes­sion­al pho­tog­ra­phers have spe­cial lights that work essen­tial­ly the same way.  Exper­i­ment with the adjust­ments of the lights.  Do not point the lights direct­ly at the carv­ing.  I some­times point the lights at the ceil­ing to reflect the light off of the white sheet rock.  The ide­al light­ing will be much dark­er to your eye than what appears cor­rect.  Some­times it appears too dark to take a pic­ture but don’t be fooled.  

EXPERIMENTEXPERIMENTEXPERIMENT!

If the pho­to appears too dark when you upload it, exper­i­ment with the bright­ness and con­trast.
USE A TRIPOD!  Set the ISO at 200 or less, and the high­est res­o­lu­tion your cam­era allows.  Too high of an ISO will cause grainy pho­tos. Set the cam­era on man­u­al and don’t use the flash.  Use the timed release to release the shut­ter so there will be no move­ment.  You will be tak­ing the pho­to at a very slow shut­ter speed and any move­ment will cause blur.  Most dig­i­tal cam­eras will set the expo­sure for you. Use a 10 sec­ond time delay to allow the cam­era time to set­tle down after you push the but­ton.

I pre­fer to take under exposed pho­tos and then work with them with pho­to pro­cess­ing soft­ware.  This allows me to enhance the bright­ness and con­trast and adjust the col­ors and sat­u­ra­tion.  The com­put­er pro­cess­ing can take a bit of expe­ri­ence to mas­ter but it’s pos­si­ble to get qual­i­ty raw pho­tos with the pho­tog­ra­phy tech­niques I’ve out­lined above.  Take lots of pho­tos, upload them to the com­put­er and ana­lyze the weak­ness­es.  Adjust light­ing angle etc. and take lots more.  You will learn what works for you and what doesn’t 

Jeff Pretz  com­ment­ed:

Very Help­ful for us who are learn­ing to take pic­tures of our carv­ings!  Thank you very much Ron!          

MikeG  added: 

Great idea to write down the set up, flash set­ting, posi­tion (flash, cam­era and sub­ject), type of lens and expo­sure num­ber on the paper, so you will know what going on between frames and lot eas­i­er to fig­ure out from tri­al and errors. Dig­i­tal cam­era are lot eas­i­er than 35 mm. Write down every­thing, no mat­ter what or why. With­out record, you waste more time. Good Luck (Great tip by Ron)

Loren Woodard wrote: 

For my pho­tographs I use a home made light tent.  Lynn Diel had an arti­cle in Carv­ing Mag­a­zine a few issues back that told how to make the light tent.  My best results have come with a light blue back­ground.  I use three lights.  My light tent is wrapped with a bed sheet.  I use a clamp-on light fix­ture on top with a stan­dard incan­des­cent bulb that shines through the top of the light tent and onto the light blue back board.  I then light the front with two light that have 13 watt day­light (flo­res­cent) bulbs in them.  I direct one light on each side of the carv­ing.  This set­up seems to work bet­ter for me than any oth­er method that I have tried.  I too had a ter­ri­ble time with light.  As a mat­ter of fact, I had an arti­cle turned down for a carv­ing mag­a­zine because of the pic­tures.  I’ve worked hard on the pho­tographs and the above worked bet­ter for me than any­thing. 
By all means, don’t use a bare flash.   

Byron Kin­na­man replied to a com­ment about nat­ur­al out­side light:

I agree that it’s hard to find a soft light day.  Pro­fes­sion­als use col­or cor­rect­ed lights and polar­ized fil­ters on the lights for direct light­ing. Many use umbrel­las for soft non-direct light.  The lights are still col­or cor­rect­ed.   I man­aged to find cou­ple 5000°K CFL lights.  From the pic­tures I don’t think they’re exact­ly 5000°K.  I’d like to find some 5900°K light with­out pay­ing an arm and leg for them.  I also use the pho­to cube which pro­vides a nice soft light.  I pre­fer to use 3 lights.   2 at approx­i­mate­ly 45° and one over­head slight­ly behind the sub­ject, some­times ref­er­eed to as a halo light.  With the halo light slight­ly behind, the sub­ject is sep­a­rat­ed from the back­ground and appears to float.  Many cat­a­logs use that tech­nique.

I’m going to dis­agree with part of what you say.   Nat­ur­al dif­fused sun­light pro­duces the nicest pic­tures.  Note I said dis­used.  The col­ors on a cloudy day pop.  Direct sun­light is not good nor is direct light of any kind.  With sun­light you don’t have to fuss with col­or tem­per­a­ture set­tings. Some CFLs have a green cast to them and can be dif­fi­cult to deal with. I’ve had to mess with the col­or tem­per­a­ture set­ting using CFLs.

Ron Ram­sey con­clud­ed:

It’s true that cloudy days can work to get great pho­tos but you have to wait for the right day.  Where I live it’s not cloudy that often  and when it is, it’s usu­al­ly rain­ing or snow­ing.  With the indoor method you can take pho­tos on any day or night.   Col­or casts can be a prob­lem so it’s a good idea to get famil­iar with a soft­ware pro­gram that allows you to change the bright­ness, con­trast, sat­u­ra­tion and col­or hue.  The cloudy day method is a good option but I find I have
much more con­trol over the shad­ows and details by using lights.  That’s why pro­fes­sion­al pho­tog­ra­phers use a stu­dio to take pho­tos of art.  Nat­ur­al light can some­times oblit­er­ate fine details because it is com­ing from all direc­tions at once.  By using adjustable lights you can fine tune the look you want and cause the details to show up.


That’s it for this edi­tion of NFTN.    If you see a post on one of the FB groups or Mail List­servs that you think should be pre­served in NFTN, please use the form below to sub­mit your sug­ges­tion.

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Sug­ges­tions for NFTN
  • Please enter your name
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  • Please enter your sug­ges­tion for inclu­sion in Notes From The Net. Include the date of the post, the name of the per­son who start­ed the dis­cus­sion, names of those who pro­vide the best respons­es. It is impor­tant that you include the NAME of the Face­book group or mail list­serv.. Your email address will only be used to clar­i­fy your sug­ges­tion, if need­ed. Thanks for your sug­ges­tion.

January-February 2017 WOM

 

Welcome to Woodcarver Online Magazine

2016 Inter­na­tion­al Wood­carvers Con­gress. Award win­ning carv­ings.

In Sight of Home 

Dylan Good­son — Mohawk, MI

IWC 2016 — 1st in Group B — Relief Carv­ing1st in Class 208 — Com­bin­ing 2 or more of the Class­es above; Judge’s Choice — Fred Cogelow

 

Hel­lo, Friends in Carv­ing -

Wel­come to Wood­carv­er Online Mag­a­zine as we start our 21st year of pub­li­ca­tion.  This is one of the largest issues of the year, as it con­tains the pho­to gal­leries from the Inter­na­tion­al Wood­carvers Con­gress 2016.  There are some won­der­ful carv­ings in the gal­leries; be sure to take time to check them out, as well as all the casu­al pho­tos from around Con­gress Week.  Please remem­ber that all the win­ners images are click­able to dis­play a much larg­er ver­sion of the pho­tos, so you can real­ly look at the details.

Please sup­port our spon­sors (includ­ing the Carver­sCom­pan­ion Cafe­Press Shop, where you can find lots of gifts for the carv­er in your life); just click any of the links in the right menu bar.

 

In this issue:

  • Pho­to Gallery - Inter­na­tion­al Wood­carvers Con­gress 2016 
  • Pete LeClair: Oscar
  • Ol’ Don’s Draw­ing Table: Aero­stat Artist
  • Nation­al Muse­um of Wood­carv­ings Auc­tion Announce­ment
  • Update to Events, Hap­pen­ings and Goings-On

As always, we wel­come your feed­back, ideas for arti­cles, etc.  Please use the con­tact form on the About page in the menu bar above.

Enjoy!

Matt-IWC14

Pho­to by Marc Feath­er­ly at IWC ’14

Matt Kel­ley

Editor/Owner

International Woodcarvers Congress 2016 Winner Galleries

Josh Guge’s 2016 Inter­na­tion­al Wood­carvers Con­gress Best of Show Win­ner

As always, assem­bling the pho­to gallery for the Inter­na­tion­al Wood­carv­er Con­gress Win­ners is the great­est amount of work of any sin­gle arti­cle in WOM.  The 2016 IWC Gallery was no excep­tion, start­ing with Josh Guge’s won­der­ful Best of Show win­ner.   This edi­tion has some 287 pho­tos (twice that num­ber if you count the thumb­nails) includ­ing some of the best carv­ings you will see any­where.  In the win­ner gal­leries you’ll find 164 of pho­tog­ra­ph­er Marc Feath­er­ly’s excel­lent stu­dio pho­tos of the win­ners at IWC 2016, includ­ing more pho­tos of the Best of Show win­ner.

In addi­tion to the gallery of the prize-win­ning carv­ings, you’ll also find Marc’s can­did pho­tos from the Class­es, Award Ban­quet, the Judges, the Show floor, and oth­er pho­tos around and about dur­ing Con­gress.

As always, the pho­tos in the winner’s gallery are click­able, and will take you to much larg­er ver­sions of these great carv­ings.  (Much larg­er then you’ll see in any paper pub­li­ca­tion.)  The large pho­tos will afford you the oppor­tu­ni­ty to real­ly look at the win­ners in detail.

To vis­it the gal­leries, in the menu bar above click on WOM, then on The Gal­leries menu item, or click HERE.   Enjoy!

National Museum of Woodcarving Auction

As many of you may know, Dale Schaf­fer, the own­er of the Nation­al Muse­um of Wood­carv­ing in Custer, South Dako­ta has closed the muse­um.  Assets of the Muse­um will be auc­tioned off in an absolute auc­tion, uti­liz­ing the Online Only auc­tion for­mat.  Bid­ding will be open Tues­day, March 7 though March 13, 2017, end­ing at 5:00 PM.

The auc­tion will include sell­ing of the entire col­lec­tion of Dr. Harley Niblack, one of the orig­i­nal ani­ma­tors of Dis­ney­land, and much more.

The Niblack col­lec­tion of over 150 carv­ings and orig­i­nal art pieces rep­re­sent the life work of Dr. Harley Niblack (1894–1966), orig­i­nal­ly a chi­ro­prac­tor from Den­ver.  His love was wood­carv­ing to which he ded­i­cat­ed over 70,000 hours cre­at­ing minia­ture & life size fig­ures, minia­ture steam engines, paint­ings, fur­ni­ture and more.  Dr. Niblack may be best remem­bered for his pio­neer­ing work in ani­ma­tion.  Three of the ani­mat­ed scenes offered were once dis­played at the Smith­son­ian Insti­tute, and from 1954–55 he helped design and build the ani­ma­tion at Dis­ney­land.

This auc­tion fea­tures 25+ Niblack carved scenes, pri­mar­i­ly satir­i­cal depic­tions of life in the old west and of the med­ical pro­fes­sion, most of which are mechan­i­cal­ly ani­mat­ed.  Also includ­ed are 85+ indi­vid­ual wood carv­ings includ­ing a dupli­cate of a carv­ing of Will Rodgers, giv­en to Pres­i­dent Eisen­how­er, sell­ing with a signed let­ter from the Pres­i­dent thank­ing Dr. Niblack for the carv­ing.  Also sell­ing, a unique set of hand carved and leather uphol­stered fur­ni­ture used per­son­al­ly by Dr. Niblack.  This col­lec­tion also includes many orig­i­nal paint­ings, lamps, mechan­i­cal steam engines, mod­el phones and more!

Over 75 oth­er carv­ings and art­work from notable artists includ­ing 20+ Kirt Cur­tis wildlife carv­ings, 2 art antler lamps by Tony Ramer, and many oth­ers.  Many qual­i­ty pieces depict wildlife, nature scenes, bik­ers, ANRI fig­urines and more.

Final­ly, also to be sold are the entire remain­ing gift & sou­venir inven­to­ry, t-shirts, dis­play cas­es, office & retail relat­ed, home fur­nish­ings, tools, shop relat­ed and so much more!

The Nation­al Muse­um of Wood­carv­ings has been an ever pop­u­lar Black Hills of SD attrac­tion for 40+ years.  Mr Schaf­fer is retir­ing and offer­ing this spec­tac­u­lar col­lec­tion at Absolute “Online Auc­tion”, with­out reserve!  This is a rare oppor­tu­ni­ty to pur­chase tru­ly one of a kind, muse­um qual­i­ty Amer­i­cana wood­carv­ings, pio­neer ani­ma­tion and much more! 

Please note Terms & Con­di­tions:  Absolute Auc­tion, sell­ing in 550+ indi­vid­ual lots, to the high­est bid­ders with­out min­i­mum or reserve bid.  The “online only” auc­tion method will be uti­lized; see details at www.bradeenauction.com. Online bid­ding opens Tues­day, March 7 at 6:00 am through Mon­day, March 13 at 5:00 pm MST, fea­tur­ing the “soft close” fea­ture, with 3 items per minute clos­ing.  Sell­ing “As-Is, Where-Is” with­out war­ran­ty of any kind.  There is no buy­er pre­mi­um of any kind, how­ev­er a 3% cred­it card swipe fee applies.  Onsite set­tle­ment on Tues­day, March 14.  Removal at buy­ers risk & expense, with­in 14 days of the auc­tion or by arrange­ment.  Ship­ping ser­vice avail­able at Buy­ers cost.  See com­plete terms, con­di­tions, inspec­tion dates and details at www.bradeenauction.com.

November-December 2016 WOM

  vol20issue6banner

Welcome to Woodcarver Online Magazine

 hershey-old-world-santa

Old World San­ta 

Bob Her­shey, Lititz, PA

 

Hel­lo, Friends in Carv­ing -

Wel­come to Wood­carv­er Online Mag­a­zine as we com­plete our 20th year of pub­li­ca­tion.   It takes a lot of work to keep this pub­li­ca­tion and the Carver­sCom­pan­ion web site oper­at­ing, but as long as it serves a use­ful func­tion for the carv­ing com­mu­ni­ty, we’ll keep plug­ging away.

Please sup­port our spon­sors (includ­ing the Carver­sCom­pan­ion Cafe­Press Shop, where you can find lots of gifts for the carv­er in your life); just click any of the links in the right menu bar.

For all our read­ers, all over the world, best wish­es in this joy­ous sea­son; Mer­ry Christ­mas, Hap­py Hol­i­days, and a Hap­py New Year in 2017

In this issue:

  • Pho­to Gallery - San­ta and Friends Gallery
  • Ol’ Don’s Draw­ing Table: C and G, Key of B-flat
  • Pete LeClair: Christ­mas Elf
  • Carv­ings From Down Under: John Carriere’s Cobra 
  • Update to Events, Hap­pen­ings and Goings-On

As always, we wel­come your feed­back, ideas for arti­cles, etc.  Please use the con­tact form on the About page in the menu bar above.

Enjoy!

Matt-IWC14

Pho­to by Marc Feath­er­ly at IWC ’14

Matt Kel­ley

Editor/Owner

2016 Santa And Friends Gallery


TBerrySantasign

Welcome to the 2016 Santa (And Friends) Photo Gallery.   

hershey-old-world-santa

Bob Hershey’s Cot­ton­wood Bark Old World San­ta

This is the fifth­teenth annu­al San­ta Gallery, and as alway,  I am pleased by the vari­ety and qual­i­ty of the carv­ings includ­ed.  Tip ‘o the hat to all those who sub­mit­ted carv­ings, and a reminder for every­one else to plan on par­tic­i­pat­ing in the gallery in 2017.  To vis­it the 2016 Gallery click HERE, or click on WOM in the menu above, then click on WOM Gal­leries.

Thanks to Tim Berry for use of his San­ta Carv­ings sign.

 

Carvings From Down Under — John Carriere’s Cobra

John Car­riere want­ed to carve a snake; a BIG snake.  In this instance, a 32 inch high repli­ca of a cobra.  The job took the res­i­dent of Dar­win, North­ern Ter­ri­to­ry, Aus­tralia some 650 hours; the project was carved in Tas­man­ian Oak.  That’s a lot of work for a rep­tile, but as you can see, the result was worth the labor.  John was kind enough to share these step-by-step images of the carv­ing process.

When view­ing the gallery, use the « and » to move for­ward and back; click on an image to close it.