This short video highlights selections of my fine art photography offerings shown on display in homes and offices.
Fine Art Photography
The video shows large metal prints and framed artwork suitable for making an impact in a living room or office environment. Sizes from small to large as well as various framing styles from metal prints to framed and matted gallery style artwork is available. You can customize your order with paper, matt and frame choices or order prints rolled in a tube to be framed by yourself or at a local frame shop.
Here are links to the fine art photography examples shown in the video.
Classic neon sign outside of O’Rourke’s Diner a landmark on the North End of Middletown, Connecticut’s main street. Fine art photography by Edward M. Fielding
The diner was established in 1941 by John O’Rourke, who later brought the 1946 Mountain View diner car that anchored the diner’s distinctive appearance into Middletown.
About the image: Here the delicate and innocent flower is represented in white while the background of rough, old wood is allowed to go dark. The background is a find from a local barn restoration company. They tell me that it is a raccoon stretcher used to skin raccoon. Just one of the many interesting things the barn company finds when salvaging old barns in New Hampshire and Vermont. The wood has wonderfully deep cracks and is shaped kind of like a small ironing board. You can see nail marks in it from where the held down the animal. Nice huh? And you thought it was all just about a pretty flower.
A pair of classic Adirondack chairs on the shore of Mirror Lake in the town of Lake Placid, NY in the heart of the Adirondack park in New York state.
A yellow lifeguard tower stands watching over an empty beach on Maui, Hawaii.
The famous surfboard fence just off the Road to Hana on the island of Maui in Hawaii. Photography Hawaii born photographer Edward M. Fielding
My black and white fine art photograph and color images of a fence on the island of Maui, Hawaii constructed entirely of old discarded surfboards is becoming a popular print on Fine Art America and Pixels.com.
Donald DJ Dettloff still can’t figure out how his quiet Haiku property on Kaupakalua Road has evolved into a quirky Maui landmark. Known simply as the surfboard fence, this towering structure made of hundreds of discarded surfboards has become a must-see attraction for residents and tourists seeking fun off the beaten path. Still, Donald admits it’s all a fluke.
I don’t even try, really. I just sit over here and people come and keep bringing their boards, he says, pointing out a stack of five boards that were donated in the past two weeks. I look at how big it is now and I just don’t know what happened.
It all started back in 1990 when the forecast of a hurricane prompted Donald to secure his surfboards by wiring them to his fence. Artistic inspiration ensued and he decided to add a few more boards to his humble collection nothing fancy, just discarded ones that he salvaged at the nearby junkyard.
The beginner photographer approaches a scene, raises their camera and “takes” the picture. A seasoned photographer “works” the scene, studying all the possibilities of composition from various angles. Unless you work out all of the possibilities of a scene, you don’t come away with the best possibility. Often this requires revisiting a scene more than once, perhaps in different seasons.
This old barn complex in Windsor, Vermont is eye catching when driving by with its complex arrangement of buildings, weathered boards, red painted doors etc but capturing the feeling of the place is different than snapping a shot from the road. You have do actually engage in the landscape and explore the various angles and arrangements of the composition. Bottom line is to get into the scene and make an photograph rather than take a snapshot.
Below are some photographs of this area taken at different times of the year as well as some thoughts by other photographers on how to work a scene in photography.
“Making a picture just right takes time, even when the thing you’re photographing isn’t moving. Instead, you do the moving — closer, not so close — change lenses, commit to a tripod, micro compose some detail, step back, reconsider, recompose, repeat. And when it looks right it also feels right — just so.” — Sam Abell, from The Life of a Photograph
“The compositional dance is about figuring out a way to move you and your camera, which in turn moves the smallest of details inside your viewfinder for maximum visual impact. You can make use of all photographic techniques to create the atmosphere or emotion you are feeling and want to transmit. It’s about recognizing and understanding what it is that attracted you to the subject matter in the first place, and then determining — through concentration and instinct — how best to communicate those feelings through the photograph.” – Steve Simon
“We don’t always have the time or opportunity to revisit a given scene many times in order to make ourselves happy; however, we should at least be convinced that we have produced the best possible image given the limitations of our own visit. This means that even if a scene is immediately interesting/ arresting, the first image may not necessarily be the best one. Sometimes our instincts are right, sometimes our timing is lucky, and it is; more often than not, there’s always something to be improved.
If you take a look at the work of great photographers immediately before and after a famous image – the Magnum Contact Sheets book is highly recommended for this because it puts the chosen frame in context of what happened immediately before/ after by showing the rest of the frames on the roll – you’ll see that they all have something in common: they spend a lot of time experimenting with variations on the same basic idea, exploring options, and usually end fairly soon after getting the shot they want.” – Ming Thein
“If you’re walking around a city or village and you stop to take a photo, that means something caught your eye (enough to make you stop and photograph it, right?). Don’t just take one shot, shrug your shoulders, and move on. Remember, something made you stop, so there’s probably something there, and taking one quick snapshot probably won’t uncover it.
Your job as a photographer is to “work that scene” and find out what it was that captured your attention. The first step is simply to slow down—stop, look around for a moment, and see what it was that drew your eye in the first place. Was it the color, was it a doorway, an archway, was it some little feature, or something big? If you can figure it out, then you’ll know what to shoot, but more often than not, we can’t exactly describe what it was that made us stop and shoot, but it definitely was something.
Your job is to find it, and to work that scene by trying these techniques: (1) Shoot the area with different focal lengths—shoot a few shots in really wide angle, then try 100mm, then zoom in tight, and see what you find. Stop and look at your LCD to see if you’re getting close. If you see something that looks like it has possibilities, then (2) try changing your viewpoint. Shoot it from a very low angle (get down on one knee) or try shooting it from above (look for stairs you can shoot from or a rooftop angle). This can make the shot come alive. If that looks really good and you’re getting close to nailing the shot, then (3) try varying your white balance (try changing it to Cloudy and see if having the shot look warmer looks better, or try Shade for a warmer look yet). Try all these things (work the scene) and my guess is one of those shots will bring a big smile to your face.” – Scott Kelby
Only five days left to take advantage of this limited time promotions
Spring is here and we have a few Limited Time Promotions with a spring theme. Each special offer is good for the next five day and is limited to the first 25 collectors. Each is a 16×20 canvas print of museum quality.
First Spring Daffodil Canvas Print
by Edward Fielding
Purchase a 16.00″ x 20.00″ stretched canvas print of Edward Fielding’s First Spring Daffodil for the promotional price of:
Bring your artwork to life with the texture and depth of a stretched canvas print. Your image gets printed on a premium glossy canvas and then stretched on a wooden frame of 1.5″ x 1.5″ stretcher bars. All stretched canvases ship within one business day and arrive “ready to hang” with pre-attached hanging wire, mounting hooks, and nails.
Fine Art America is one of the largest, most-respected giclee printing companies in the world with over 40 years of experience producing museum-quality prints. All of our prints are produced on state-of-the-art, professional-grade Epson printers. We use acid-free papers and canvases with archival inks to guarantee that your prints last a lifetime without fading or loss of color.
Corner Detail: Stretched canvas print with 1.5″ stretcher bars and mirrored image sides. Also available with black sides and white sides.
All work comes with a 30 day money-back guarantee. If you don’t love it, simply return it.
Limited time promotion: Use this discount coupon code for any artwork by Edward Fielding. ‘NRRMDM’
My work can be seen in homes and offices around the world as well as on the covers of bestselling novels and magazines. Over 800+ satisfied customers from this portfolio on Fine Art America and Pixels alone.
“Beyond the Blue Door” by Edward M. Fielding is the latest in a series of doorway images as well as a new edition to the new colored pencil technique offered by the artist. This techniques starts with original photographs from fine art photographer Edward M. Fielding’s portfolio of over 4,000 images and applies and build up layer upon layer of colored pencil like strokes and markings. The process takes several hours per image and eventually the original photograph disappears leaving only the pencil markings. The detail and tonal range of a photograph remains but it takes on a more artistic look that allows the viewer to appreciate the image in a whole new way.
This image is part of a series of color pencil rendered images that include scenes from Italy, New England and beyond. A sub-segment of the colored pencil series is a series of door and doorway images taken by artist Edward M. Fielding in his travels around the world. Barns, artist studios, famous landmarks, city townhouses in Boston and more captured by the camera and rendered with digital pencil markings in post production.
Doorway Series – color pencil techniques over and original photograph by Edward M. Fielding – www.edwardfielding.com and is available as prints, framed art, canvases and more.
A mysterious house in winter with intense blue doors. Fine art photography by Edward M. Fielding
Saint-Gaudens Estate in Cornish, New Hampshire
The Saint-Gaudens estate in Cornish is New Hampshire’s only national park and carries the dubious distinction of being the least-visited park in the country. But the nation’s ignorance is our gain, since this unspoiled and stunningly beautiful spot is also uncrowded and accessible. But even to locals who frequent the grounds of Aspet, there are delightful secrets just waiting to be discovered.
You Might Be Forgiven if you’ve never heard of Augustus Saint-Gaudens. The name alone sounds patrician, perhaps Parisian, and if that’s your conclusion, in some sense you might be right. Augustus Saint-Gaudens did come from Paris, but he came from there by way of The Bowery in New York City. The son of French and Irish immigrants, Saint-Gaudens was born in Ireland and at 6 years old, landed in New York. He was destined to become America’s foremost sculptor. His work was to lead an American Renaissance and place him alone and above his contemporaries on either side of the Atlantic. The great sculptor, Rodin, on seeing his work at the Paris Exposition of 1900, doffed his hat, as homage to the artist.
I created this incredible offer for a friend of mine who has been looking for a large canvas print with a agricultural theme. I have 15 of these available at this special price for the next five days only. The deal was created for a good friend but your can get on it also, if you act quickly.
By request – special offer to the first 15 collectors of this 36.00″ x 24.00″ stretched canvas print of Edward Fielding’s Vintage John Deere at Sunset.
This offer is available for five days only. First come first serve. These limited time canvas print deals can be offered at such a value price because they are batch processes using a special arrangement with the printer and are intended as a promotional special deal for those who jump on this offer. Feel free to share this after you’ve secured your canvas.
Mid-century modern is an architectural, interior, product and graphic design that generally describes mid-20th century developments in modern design, architecture and urban development from roughly 1933 to 1965. The term, employed as a style descriptor as early as the mid-1950s, was reaffirmed in 1983 by Cara Greenberg in the title of her book, Mid-Century Modern: Furniture of the 1950s (Random House), celebrating the style that is now recognized by scholars and museums worldwide as a significant design movement.
Modern furniture refers to furniture produced from the late 19th century through the present that is influenced by modernism. Post-World War II ideals of cutting excess, commodification, and practicality of materials in design heavily influenced the aesthetic of the furniture. It was a tremendous departure from all furniture design that had gone before it. There was an opposition to the decorative arts, which included Art Nouveau, Neoclassical, and Victorian styles. Dark or gilded carved wood and richly patterned fabrics from the gave way to the glittering simplicity and geometry of polished metal. The forms of furniture evolved from visually heavy to visually light. This shift from decorative to minimalist principles of design can be attributed to the introduction of new technology, changes in philosophy, and the influences of the principles of architecture. As Philip Johnson, the founder of the Department of Architecture and Design at the Museum of Modern Art articulates:
“Today industrial design is functionally motivated and follows the same principles as modern architecture: machine-like simplicity, smoothness of surface, avoidance of ornament…. It is perhaps the most fundamental contrast between the two periods of design that in 1900 the Decorative Arts possessed…”
With the machine aesthetic, modern furniture easily came to promote factory modules, which emphasized the time-managing, efficient ideals of the period. Modernist design was able to strip down decorative elements and focus on the design of the object in order to save time, money, material, and labor. The goal of modern design was to capture timeless beauty in spare precision.
The Volkswagen Type 2, known officially (depending on body type) as the Transporter, Kombi or Microbus, or, informally, as the Bus (US) or Camper (UK), is a cabover panel van introduced in 1950 by the German automaker Volkswagen as its secondcar model. Following – and initially deriving from Volkswagen’s first model, the Type 1 (Beetle) – it was given the factory designation Type 2.
As one of the forerunners of the modern cargo and passenger vans, the Type 2 gave rise to forward control competitors in the United States in the 1960s, including the Ford Econoline, the Dodge A100, and the Chevrolet Corvair 95 Corvan, the latter adopting the Type 2’s rear-engine configuration. European competition included the 1960s FF layout Renault Estafette and theFR layout Ford Transit.
Like the Beetle, the van has received numerous nicknames worldwide, including the “microbus”, “minibus”, and, because of its popularity during the counterculture movement of the 1960s, “Hippie van”.
I have a small collection of vintage typewriters among the assorted antique items I’ve collected over the years and they tend to show up in my photography from time to time. Here are some of my fine art photography that includes vintage typewriters.
The concept of a typewriter dates back at least to 1714, when Englishman Henry Mill filed a vaguely-worded patent for “an artificial machine or method for the impressing or transcribing of letters singly or progressively one after another.” But the first typewriter proven to have worked was built by the Italian Pellegrino Turri in 1808 for his blind friend Countess Carolina Fantoni da Fivizzano; unfortunately, we do not know what the machine looked like, but we do have specimens of letters written by the Countess on it.
A typewriter is a mechanical or electromechanical machine for writing in characters similar to those produced by printer’s movable type by means of keyboard-operated types striking a ribbon to transfer ink or carbon impressions onto paper. Typically one character is printed on each keypress. The machine prints characters by making ink impressions of type elements similar to the sorts used in movable type letterpress printing.