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Go to first message Go back 20 messages Messages 7601 - 7620 out of 9153 Go forward 20 messages Go to most recent message
7601. KuligintheHooligan - 9/5/2004 6:42:58 AM

I always buy those sorts of things on the Net. Best Buy marks them up entirely too much.

7602. anomie - 9/5/2004 7:17:10 AM

Wow! WOW. Thanks. I had no idea you could get them so cheap. New Nikons aren't usually discounted I thought. I may not wait.

I have a 24-70 Tamron, which will give me about 35mm on the D70. I also have some d-series lenses and some older ones. If I could find the body for 750, I'm sold.

Kuligin. I'll check your source. Thanks.

7603. wonkers2 - 9/5/2004 11:06:54 AM

I didn't look at the Nikon, but I'm very happy with my Canon digital Rebel.

7604. TheWizardOfWhimsy - 9/5/2004 11:37:05 AM

Good camera, but I have Nikon lenses that wouldn't fit a Canon.

7605. alistairconnor - 9/5/2004 4:39:46 PM

I need to get the Canon EOS electronic, with a 20 to 70mm lens. I already have a Canon 70-300mm zoom on my old-fashioned chemical camera, that I never use these days... I took it away on holiday, and found it very difficult to take any pictures with that lens - it used to do everything I wanted, now I can't get far enough away to take any pictures. My eye been ruined by years of snapshotting with a little Kodak digital.

What's more, the Canon had a film in it that must have been sitting there for a couple of years -- it turned out to be Ektachrome, so I'll have slides of my silly holiday snaps.

7606. anomie - 9/5/2004 5:59:30 PM

I'd be curious to know how the slides turn out after all that time.

7607. anomie - 9/5/2004 6:02:37 PM

Wonks, I'm stuck with Nikon lenses too. Otherwise the Rebel would have been fine for me. It's a good buy and I think takes a large variety of Cannon lenses - right?

7608. wonkers2 - 9/6/2004 4:55:56 AM

Yes. I thnk it accepts all Canon autofocus lenses. At least the 3 I already had work with the digital Rebel.

7609. alistairconnor - 9/6/2004 7:43:46 PM

sigh. Then I suppose I should look at a Rebel too.
... yes, about half the price of the EOS. Must be good enough for me too. $495 with the Canon 18 to 55 mm, that would do nicely.

7610. alistairconnor - 9/6/2004 7:47:39 PM

Looks like the Rebel hasn't arrived in France yet. Good. I haven't got the money yet.

7611. TheWizardOfWhimsy - 9/14/2004 11:15:45 PM

7612. wonkers2 - 9/14/2004 11:24:04 PM

Nice!

7613. TheWizardOfWhimsy - 9/14/2004 11:29:22 PM

Thanks wonk--if you click on it, you'll see a larger version.

7614. PelleNilsson - 9/15/2004 12:01:16 AM

I like the top left one the most.

7615. wabbit - 9/15/2004 1:17:34 AM

Gorgeous!

7616. TheWizardOfWhimsy - 9/15/2004 2:24:20 AM

Thanks, wabb! And to think that Mrs. Lawlor, (my second grade teacher) who "needed to prod me out of my dreaming" would always say: "Get your head out of the clouds, and come back to Earth."

Now she's in the Earth and I'm still flyin' high over the same sad little planet.

Pelle- that one is titled: "Oversand Station With Lemon Sky."

Here is a brief introduction written by the poet and art critic, John Yau, for the show's card;

7617. TheWizardOfWhimsy - 9/15/2004 2:24:57 AM

In Robert Dente’s monoprints, there is an upper and lower world. The upper world is made of different densities and layers of paint, which we translate into atmosphere, light, and wind currents; it is a radiant place of constant movement and change. In the lower world, we translate the paint into earth, stone, wood, grass, sand, and reflection; it is a place of stillness populated by solemn silhouettes. Although full of human traces, the world feels abandoned, as if the living have moved elsewhere or vanished. The acts of seeing and sifting, looking and reflecting are linked.

Dente arrives at a disquieting luminosity by having the paint remain paint. His juxtaposition of two distinct worlds is direct, and even simple, but the result is a state of complex feeling. Both dependent and independent, each world needs the other to become itself. The conjunction of movement and stillness is one of the activating formal tensions. Another formal tension is generated by the relationship between the works’ scale and the implied space of the artist’s subject matter. Between five inches and sixteen inches high and wide, these intimately scaled monoprints embrace the sky, and a vastness one associates with infinity. In its stillness and quietude the lower world echoes this immensity

7618. TheWizardOfWhimsy - 9/15/2004 2:25:06 AM

Dente evokes, as well as describes, a vast, various space with remarkable economy. It is one of the formal and emotional keys to his work. In Provincetown in Moonlight, the synthesis of the brush’s movement, tonal shifts and striations of color, endow the sky with a light that is both palpable and remote; it stretches out and back. Cropped by the monotype’s edges, the striations convey the artist’s sense that reality exceeds our attention, that it can only be glimpsed piecemeal, and that it is relentlessly modifying itself. At the same time, the two buildings standing on the crest of the slight inclination that lies just ahead offer a counterpoint to the sky. Dark and silent, they are like sentinels that are no longer sure of their official duties. This sense of loss suffuses throughout Robert Dente’s monoprints, and yet it should not be construed as romantic or even expressive. It comes from a place deeper than that, it comes from the very paint itself.


John Yau



Needless to say, I think he's a brilliant writer! {:?)

7619. arkymalarky - 9/15/2004 7:07:17 AM

Wow, Wiz.

7620. judithathome - 9/15/2004 8:37:40 AM

Superb...absolutely superb!

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