Your Resource site for --> on line photo processing <--

All About Clipping Path

There are a lot of news, articles and even tutorials around the globe about clipping path. Most graphics designers, photographers and even web developers who wants to enhance their images do a ...

SONY DIGITAL CAMERA: EMBRACING PERFECTION

Known for producing quality electronics, Sony is also one of the pioneers and the best producers of digital camera. Truly using a Sony digital camera is embracing perfection with its many features exc...

Working With Files in Linux: Kludges and Solutions

A year ago, I made the best and worst mistake of my life: I messed up my GRUB boot list, and didn't have the wherewithal to fix it. I was so frustrated, that I chose to abandon the Microsoft axis alto...

Famous US Digital Cameras

Cameras by Canon, Nikon, Panasonic, Sony, Fuji, Olympus, Kodak, Pentax, Samsung and Casio are the 10 most famous cameras in the US today. Based on website reviews, here are the ten most famous dig...

PIXMA MX310 Printer Overview

Canon's PIXMA MX310 is an all-in-one device that can print, copy, scan and fax. The PIXM...

Photo Printing: Keep Your Memories Crystal Clear

Photography can be considered as one of the most refreshing and entertaining hobbies. Those who love traveling keep highly sophisticated digital cameras otherwise a simple digital camera is a major co...

One-on-One CCIE Service Provider 18-Day Combo Training (C-SP-18D)

This package is designed for CCIE Service Provider Training exam candidates who would like to strengthen their weakness a...

ARKAY/HULEN Arkay Economy Stainless Steel Photo Processing Sink

Economy Stainless Steel Photo Processing Sink

ARKAY/HULEN Arkay Fiberglass Photo Processing Sink Kit

Fiberglass Photo Processing Sink Kit

ARKAY/HULEN Arkay Fiberglass Photo Processing Sink Kit

Fiberglass Photo Processing Sink Kit

ARKAY/HULEN Arkay Economy Stainless Steel Photo Processing Sink(24x84x6")

Economy Stainless Steel Photo Processing Sink(24x84x6")

Ricoh IMAGE PROCESSING UNIT B TYPE (AUTO PHOTO/LETTER)

RICOH - SCANNERS IMAGE PROCESSING UNIT B TYPE (AUTO PHOTO/LETTER)

Digital Photo Processing: A Step-By-Step Guide to Creating Perfect Photos

by Chris Tarantino

Bridgestone B330 Golf Balls - Photo Personalized Please allow 2-3 business days for processing + shipping

Design your own unique golf balls by having your photos or logos printed right on your golf balls!

TICKETMASTER INTRODUCES PAPERLESS TICKET?

Fans will no longer have to stand in line to pick up tickets at will call. Fans who ordered tickets can simply present venue door staff their credit card, along with a valid photo ID, and they'll be given a receipt and granted immediate access. No tickets will ever exchange hands. Paperless Ticket? only is available through Ticketmaster.com or through Ticketmaster charge-by-phone. The entire process is quick, secure and simple. Paperless Ticket? was unveiled for Tom Waits' new "Glitter and Doom" Tour on May 7, 2008. To view Multimedia News Release, go to http://www.prnewswire.com/mnr/ticketmaster/33099/

Make Money Online Using Youtube

. http://Youtube-Marketing-Advice.com . Make money on line by uploading your video on to youtube. How to use Youtube, Google Video to market your product and web site (website) using Clickbank and Commission Junction to find free product and make money (rich)using affiliates marketing and upload video to generate free traffic. Use video like Music, eBook trailer, comedy, utube, you tube, youtbe, maketing, afiliate, wbsite, vdeo, marketting, mney, mony this is internet marketing using youtube you tube Creating 1 video promotion today can potentially get you hundreds of thousands of visitors to your websites in the future and make money online...And it's totally free because these sites pay for all of the bandwidth, hosting and traffic to your video promotion. Creating Those Promotional Videos And Learning How To Optimize Them To Get Thousands Of Views Is The Hard Part...this is where you make money online. It could take you years and can cost you a small fortune to figure out just the right video creation and promotion techniques that make some online video promotions work - while others flop. But instead of knocking yourself out trying to come up with just the right video promotion strategy, you can now have your own copy of this home-study programme contaning ebooks, camtasia CDs and Videos which you can watch over an over. http://ClickHere-1.com Discover The Little Known Secrets Of Generating Free Website Traffic From YouTube and make money online. This amazing home-study course is the result of researching over 200 websites and over 100 video promotions! Inside this course video, you'll learn: How to do important keyword research on YouTube before you ever start to plan your videos (picking great keywords to tag your videos with). The most important information to look at when researching. What types of videos are popular? Learn the 10 important factors that are part of almost all wildly popular videos. Want people who watch your video to go to your website? Learn where in the video should you put your website URL. Everything you need to know about how to brand the video with your company name and site URL using free (and easy to use) video editing software. The secret to increasing your video views with custom thumbnail images. How to build your own niche video community on YouTube with the groups feature and make money online. Explained: The 5 minute process to create a custom profile and your own custom channel information (This will give you a big advantage when people sort for 'Channels', 'Groups', and 'Playlists'). How to to add effects like titles, credits, transitions, and soundtracks to make your video an exciting multimedia experience. The secret of viral videos: Learn what makes people send YouTube videos to their friends, family and coworkers. How to use videos as a sales device on your company website (even if people don't find your video while searching YouTube, you can still use video to increase sales). What you should absolutely NOT do after you've uploaded your video. You don't want to miss this: Where to get amazing software which can animate a human face into realistic looking cartoon. Multiply your efforts with a list of more than 20 other very popular free online video sites. But Wait, There's More...You'll Also See Step-By-Step How to Actually Create Your Own Great Videos an make money on line. You'll also get step by step instructions and a list of resources you can use to create great videos. How long should your video be? The answer may surprise you... The best places to outsource your video production to you just don't feel up to the task of creating your own. Do you even need video footage to create a great video? How to create compelling videos from still photos. Where to get pre-made movie clips (super-cheap) that you can use in your own promotions. 3 places where you find great production music clips online for video soundtracks. Where to get great royalty photos, clipart and video clips to use when editing your videos. How to capture the most controversial video footage. Where to download free video editing software (and how to use it!) The best way to practice making videos. The best format to upload for high quality. How you can get around the 10 minute limit if needed. Who should be actors in your videos and what papers should they sign? What kind of equipment you will need to have before you can create a video (you may be suprised to find that you might already own video equipment). A little known (but very useful) feature of many digital cameras which few people use. The best webcam to use for YouTube videos. The best screen capture software on the market today and how to record your actions on the computer screen along with voice narration (use this to make software demonstrations, digital product demonstrations, or show off membership websites). (less)

Art Performance on Airport Larnaca Cyprus

http://performancemotion.blogspot.com 1999 - 2008 Installation "all is hanging on line." Performance expressive Motions paintings with black colour on News Paper from the happenings of the moment on public places. Installation „ all is hanging on line „ Performance der expressiven Bewegungszeichnung mit Pinsel und schwarzer Tusche. Das momentanen Geschehen auf die Tages Zeitung des Ortes. 1999 was the beginning of the project motions paintings and portraits in the station of Glarus, where the artist Barbara Streiff lives and works. Sketches from the people, they was waiting and moving on the place. She paints and makes the Exhibition directly on the wall in the waiting room. The work "expressive motions paintings of happenings" gives a new importance to the place. This art is not freshened, emotions and movement are allowed, and every body is welcome to be a part of this action. In the dark and quiet waiting room, where before was only the clock "tic-tac", comes live in. 1999 entstand das Projekt indem sich die Künstlerin Barbara Streiff mit Bewegungszeichnungen und Portraits im Bahnhof Glarus, wo sie lebte und arbeitete, beschäftigte. Von Menschen, die sich im und um den Bahnhof herum bewegten. Sie malte und stellte aus, wo die Menschen Zeit hatten, gemalt zu werden und in einer Ausstellung die entstandnen Werke zu betrachten. Diese künstlerische Arbeit des beobachtenden Skizzierens und festhalten von zufälligen Begegnungen, Geschehnissen gab dem Ort selbst eine neue Bedeutung. In der expressiven Malerei werden Leben, Emotionen und Bewegung zugelassen und die Menschen, welche im Halbdunkel bei der einsamen Bahnhofsuhr sitzen, werden dabei beachtet. 2000 - 2004 Performance with Exhibition -- Installation on the place. Barbara Streiff travels around Switzerland and made Stop by all stations for her work expressive motions paintings from the happenings on public places in Zurich, Romanshorn, Locarno, Sargans, Appenzell, Einsiedeln etc. 2000 -- 2004 Performance mit Installations - Ausstellung am Ort des Geschehens. Barbara Streiff reist in all den Jahren in der Schweiz, wo sie an verschiedenen Orten Ihre Performance, das Festhalten des alltäglichen Geschehens auf die Tageszeitung bei öffentlichen Plätzen ausführte, Zürich Bahnhof, Romanshorn, Locarno, Sargans, Appenzell, Einsiedeln etc. 2000 -- 2001 Performance in New York. (Text: NY ARTS December 2000) She sits at the Grand Station, at Broadway, China -- Down, Central Park, at Place Pigalle, a current newspaper on her knees. The daily rags around the world are her canvas. The intent of these action "Comics"is the expressionistic "free flow of everyday life. " They speak of passion, pathos, and skill. This "boulevard performance" mirror from the inside of what passes outside. The process of the action "Comics" is intuitive. 2002 Invitation of Kartause Ittingen, to live and work in Art - Performance on place. 2002 Einladung mit Performance des Geschehens, 2 Monate Klause, Kartause Ittingen. 2001 -- 2004 Performance in Italy, Germany, Berlin and Konstanz, Cyprus, airport Amsterdam, Budapest, etc. By all her art travels Exhibitions, Natural Art Installations and work as curator for the project, "World Exhibition for Freedom "she did her performance, like a journalist in paintings from the happenings of the moment on the place. Photos of work are online under communicative art in the website: www. alpswissart.ch 2001 -- 2008 Reisen mit Performance in Europa, Asien. Bei Ausstellungen und Natur Art Installationen hatte Sie den Pinsel und die schwarze Farbe immer dabei, um zufällige Momente in der Oeffentlichkeit auf der jeweiligen Zeitung des Ortes festzuhalten. Die Photos der bereits umgesetzten Arbeiten können auf www.alpswissart.ch unter communicative art besichtigt werden.

The Making Of Evolution Of Dove

The on-line editing process included: stabilizing and tracking shots of the model's face, designing the Photoshop-like software to emulate retouching tools used to manipulate the facial images of the model, animation to re-enact a photo retoucher's process and creating and compositing the final billboard scene. Read more here http://animationartist.digitalmedianet.com/articles/viewarticle.jsp?id=104012

barbara streiff performance expressive motions paintings

http://www.alpswissart.ch 1999 - 2008 Installation "all is hanging on line." Performance expressive Motions paintings with black colour on News Paper from the happenings of the moment on public places. Installation „ all is hanging on line „ Performance der expressiven Bewegungszeichnung mit Pinsel und schwarzer Tusche. Das momentanen Geschehen auf die Tages Zeitung des Ortes. 1999 was the beginning of the project motions paintings and portraits in the station of Glarus, where the artist Barbara Streiff lives and works. Sketches from the people, they was waiting and moving on the place. She paints and makes the Exhibition directly on the wall in the waiting room. The work "expressive motions paintings of happenings" gives a new importance to the place. This art is not freshened, emotions and movement are allowed, and every body is welcome to be a part of this action. In the dark and quiet waiting room, where before was only the clock "tic-tac", comes live in. 1999 entstand das Projekt indem sich die Künstlerin Barbara Streiff mit Bewegungszeichnungen und Portraits im Bahnhof Glarus, wo sie lebte und arbeitete, beschäftigte. Von Menschen, die sich im und um den Bahnhof herum bewegten. Sie malte und stellte aus, wo die Menschen Zeit hatten, gemalt zu werden und in einer Ausstellung die entstandnen Werke zu betrachten. Diese künstlerische Arbeit des beobachtenden Skizzierens und festhalten von zufälligen Begegnungen, Geschehnissen gab dem Ort selbst eine neue Bedeutung. In der expressiven Malerei werden Leben, Emotionen und Bewegung zugelassen und die Menschen, welche im Halbdunkel bei der einsamen Bahnhofsuhr sitzen, werden dabei beachtet. 2000 - 2004 Performance with Exhibition -- Installation on the place. Barbara Streiff travels around Switzerland and made Stop by all stations for her work expressive motions paintings from the happenings on public places in Zurich, Romanshorn, Locarno, Sargans, Appenzell, Einsiedeln etc. 2000 -- 2004 Performance mit Installations - Ausstellung am Ort des Geschehens. Barbara Streiff reist in all den Jahren in der Schweiz, wo sie an verschiedenen Orten Ihre Performance, das Festhalten des alltäglichen Geschehens auf die Tageszeitung bei öffentlichen Plätzen ausführte, Zürich Bahnhof, Romanshorn, Locarno, Sargans, Appenzell, Einsiedeln etc. 2000 -- 2001 Performance in New York. (Text: NY ARTS December 2000) She sits at the Grand Station, at Broadway, China -- Down, Central Park, at Place Pigalle, a current newspaper on her knees. The daily rags around the world are her canvas. The intent of these action "Comics"is the expressionistic "free flow of everyday life. " They speak of passion, pathos, and skill. This "boulevard performance" mirror from the inside of what passes outside. The process of the action "Comics" is intuitive. 2002 Invitation of Kartause Ittingen, to live and work in Art - Performance on place. 2002 Einladung mit Performance des Geschehens, 2 Monate Klause, Kartause Ittingen. 2001 -- 2004 Performance in Italy, Germany, Berlin and Konstanz, Cyprus, airport Amsterdam, Budapest, etc. By all her art travels Exhibitions, Natural Art Installations and work as curator for the project, "World Exhibition for Freedom "she did her performance, like a journalist in paintings from the happenings of the moment on the place. Photos of work are online under communicative art in the website: www. alpswissart.ch 2001 -- 2008 Reisen mit Performance in Europa, Asien. Bei Ausstellungen und Natur Art Installationen hatte Sie den Pinsel und die schwarze Farbe immer dabei, um zufällige Momente in der Oeffentlichkeit auf der jeweiligen Zeitung des Ortes festzuhalten. Die Photos der bereits umgesetzten Arbeiten können auf www.alpswissart.ch unter communicative art besichtigt werden.

Animal Rights Activists Firebomb California Home

Two firebombings target UCSC researchers Conan Knoll and genevieve bookwalter - Sentinel Staff writers 08/03/2008 01:33:53 SANTA CRUZ -- Firebombs were intentionally set on a porch and in a car belonging to two UC Santa Cruz researchers in separate incidents early Saturday in what police have classified as acts of domestic terrorism. Police are calling one of the bombings an attempted ho More.. micide. In one incident, a faculty member's home on Village Circle off High Street was intentionally firebombed at about 5:40 a.m., according to police. The residence belongs to a well-known UCSC molecular biologist who works with mice. He was one of 13 researchers listed in threatening animal rights pamphlets found Tuesday in a downtown coffee shop. In the second incident at about the same time, a Volvo station wagon parked in a faculty member's driveway on Dickens Way on campus also was firebombed, police said. The family was home at the time of the firebombing and the victims, including two young children, escaped on a fire ladder from a second-story window, according to police. One family member suffered injuries during the escape and had to be hospitalized briefly, police said. That bombing is being considered an attempted homicide because the family was home, police said. The Volvo that burned also belonged to a UCSC researcher, but not a researcher listed in the pamphlet who also lives on Dickens Way, according to Santa Cruz police Capt. Steve Clark. Clark declined to say if the researcher who owns the burned car works with animals or if the wrong car was bombed. UCSC spokesman Jim Burns also declined to comment. That person's name has not been released by either police or UCSC. Santa Cruz Police investigators, the FBI, the Bureau of Alcohol, Tobacco, Firearms and Explosives and UCSC police are conducting a joint investigation, collecting evidence and interviewing witnesses. The case has been turned over to the FBI. Saturday afternoon, police officers and firefighters were helping restore electricity and inspect the Village Circle home. "The firemen are here. We're trying to get the electricity restored. This is really horrible," said Sofie Salama on Saturday, who answered the phone at researcher David Feldheim's home and said she lived there. She refused to describe what police said was a harrowing pre-sunrise scramble down a fire escape ladder with two young children. Feldheim researches the genetic and molecular processes involved in development of eye sight and part of his research, according to his Web site, involves the "viral introduction of genes into living mouse brains." His work has been published in national journals. City leaders were quick to condemn the bombings. "It's unconscionable that any reasonable person would consider this an acceptable tactic to get their point across," said Santa Cruz Police Chief Howard Skerry in a statement. "We are working hard with the other agencies and committing all available resources to follow all possible leads. We urge anyone with information to come forward." Paula Goldman, who lives next door to the house on Village Circle, said she woke up when she heard a fire alarm going off, looked out the window and saw the front door of the townhouse on fire. Goldman ran outside, grabbed a hose and doused the flames, she said. "We know it was premeditated. It was pretty obvious," said her husband, Joel Goldman. Joel Goldman said he walked out of his home a few months ago to find the townhouse next door vandalized with trash and graffiti, and heard someone yelling that the vandals would be back. "With what happened previously and what happened last week with the pamphlets, we just assumed" that Saturday's firebombing was related to animal research, Joel Goldman said. Neighbor Andrea Legg, 24, works as an advisor in UCSC's Jack Baskin School of Engineering and said the bombing didn't scare her personally, but she feared for other UC researchers. Both she and her roommate, Marcail MacEwan, 22, said they were "disgusted" with the day's events. "It's terrorism. As far as I'm concerned, they're being terrorized," MacEwan said. This appears to be the latest in a string of incidents targeting UCSC researchers and others in Santa Cruz. Fliers identifying 13 UCSC scientists, some of whom use mice, fruit flies and other nonprimate creatures in their research, were discovered at a downtown coffee shop Tuesday. The fliers say, "Animal abusers everywhere beware; we know where you live; we know where you work; we will never back down until you end your abuse." The names, home addresses, home phone numbers and photos of researchers were published on the fliers. In February, masked demonstrators rattled the front door of another UCSC researcher, whose husband chased the intruders away while the researcher protected her children in the back of the Westside home. Hours after that attempted home invasion, authorities raided a Riverside Avenue house where several students live. No arrests have been made, and police say the hard drive of a laptop confiscated at the house had been cleaned several times, increasing suspicion among investigators. Those students are still considered "people of interest," Clark said. He also said Saturday's bombings are likely related to an attempted firebombing of a police car in March 2007, and the firebombing of an electrical closet six years ago on Delaware Avenue near Santa Cruz Biotechnology, Inc. Clark would not say what kind of bombs were used on Saturday, but said this isn't the first time Santa Cruz police have seen them. "It's consistent with what animal rights people use," Clark said. Police officers described the firebombs as "significantly larger than a Molotov cocktail." Last year, arsonists filled a milk jug with flammable liquid, inserted a wick on the top and placed it under a police car. In that case, the wick was lit but went out before the bomb blew up. Clark said no suspects have been identified but officers are working on a number of leads. They also are interviewing those who saw the firebombings happen, and investigating the fliers as criminal activity. "These unconscionable acts put the researchers, their families -- including their children -- and their neighbors in grave danger," UCSC Chancellor George Blumenthal said in the statement Saturday. "These are odious assaults on individuals and on the principles of free inquiry by which we live." The campus is taking the incident "extremely seriously" and is working with law enforcement agencies to identify perpetrators and taking steps to support researchers, Blumenthal said in the statement. "The personal safety and security of all our students, faculty and staff is our highest priority," Blumenthal said in the statement. All the involved agencies are taking additional steps to protect the safety of the other people listed in the animal rights pamphlets, according to police. The Santa Cruz incidents occurred one day after a mass e-mailing by Stop Animal Exploitation Now! SAEN highlighting what the group called "mounting violations of the animal welfare act" at private labs in Santa Cruz and Berkeley. Police would not say whether there is a connection between the group and Saturday's violence. Clark would only say they are looking at several animal liberation groups, including SAEN. The group's president, Michael Budkie, said he was in Ohio and that group researches and highlights public records regarding use of animals in research labs. But he said the group does not use violent tactics and was not involved in the Santa Cruz attacks. Professors and researchers at the University of California campuses at Berkeley and UCLA have also been targeted recently, including firebombs in Los Angeles. More recently in Berkeley, nine hooded protesters showed up in front of a toxicology professor's off-campus home, scrawling "killer" in chalk on the doorstep and shattering the window of the home, and a window in a neighbor's home who scattered the protesters with a garden hose. Assemblyman Gene Mullin, D-South San Francisco, who has been championing legislation to increase civil and criminal penalties in cases where academic researchers are attacked because of their work, said Saturday that he was saddened and surprised by dual firebombings. But, he added, violence against researchers has been on the rise and while condemning the acts, predicted Saturday's firebombings likely would prompt legislators to move on the bill. Santa Cruz Police investigators ask anyone with information about the incident to call 420-5820. To leave anonymous information regarding the incidents call the tip line at 420-5995. Sentinel Correspondent Corrine Speckert and MediaNews writer Marry Anne Ostrom contributed to this report.FOX news video. Less..

Interview with Ken Navarro

Anthony Ricardi: The first thing I want to ask you is about this gig you are going to be doing in Orlando on November 3. Ken Navarro: I am going to be playing at an event that’s sponsored by the contemporary jazz station, WLOQ. I’ve had a very, very long and nice relationship with that station that dates back all the way to 1992. I think the very first show I ever did in Orlando was an event that they put on, so I’ve been just doing things with them…I’ve lost track of how many different events that I’ve done that have been either put on by WLOQ or sponsored by them or happen because of their endorsement. This particular one is a special one because it’s a benefit and it’s to raise money for kids without homes. It’s something that’s being done through Mercedes of Orlando as well, and when they asked me if I would be available to do it, at the time, it was kind of a stand-alone thing, but now I’m playing some other shows around it in other parts of Florida. I immediately jumped at the opportunity to be aligned with such a good cause and also with WLOQ again. It’s always been a good thing for me to do and in this case it made it that much easier with the purpose of the event being what it was. AR: It is a terrific cause – The Children’s Home Society. KN: Fortunately, that’s one of the great things about it for me, doing what I do, is having that opportunity to contribute what I do to causes like that. And the station, one of the great things about the smooth jazz stations around the country, is, not all of them are as proactive as WLOQ, but the ones that are, when you put an event like this together, its always first rate. The presentation of the music, the presentation of the evening, the experience for me as a musician is always really good, too. AR: Speaking of being proactive, did they have anything to do with your live album, Ablaze in Orlando? KN: You’re going to laugh when you hear this… I decided to record it in Orlando, the live CD, this is back in 1998, and we recorded it, I think it was the beginning of May of 1998. It didn’t come out until some time in the late summer but, unfortunately, I don’t know if you recall, but back in the summer of 1998, there were some terrible fires through that part of Florida. There were so many people from Florida that were fans that had been at the recordings and we also did a video of the event as well and people said, why did you call it Ablaze in Orlando? We’re having fires now! It was just total coincidence. One of the things that made me choose to record it in Orlando was because I always had such energetic, interactive audiences when I played in Orlando and Florida in general. The title “Ablaze in Orlando” was meant to say, this is a hot record, exciting, it reflects what it means for me to perform there… AR: As far as your upcoming concert, do you have a venue set yet? KN: Yes, the Trovillion in Winter Park. It will be a fairly intimate thing; about 300 tickets available. AR: Let’s talk about your most recent CD, The Meeting Place. It’s just so uplifting. KN: I get that a lot. It’s interesting because, I certainly write in a way that I think reflects how I feel or how I want to feel. I kind of laugh when I hear an artist say this is my most honest CD and I always think to myself boy, I wish I was as good as my music. What I mean by that is that I think that if you do it right, the music tends to reflect the best of what you have to offer and so when people say that, I’m really pleased by it and I’m glad that I’m creating something that can be a mood improver. But I think that’s just how it comes out for me, it’s not really a conscious thing. I’m not trying to write something that’s uplifting; in fact I think that’s probably where it crosses the line of going from uplifting to being kind of sugary. The new album definitely has some of those feelings in it. I’ve had some interesting e-mails …this kind of music, the fan base, they feel like they know you, which I guess is a good thing, that the music invites them in to that degree and I got an e-mail from one fan and it was just amazing because she figured out what this one song was about completely just from the way the music felt, and I was shocked - it isn’t one of the more uplifting songs. It’s a song called “No Other Way” which if I remember right is the third or fourth song – this is my seventeenth CD – its hard for me to remember all the details. But it is somehow – I wouldn’t say dark - but its definitely a mysterious thing and it’s a song that really has some deep spiritual connotations and searching connotations and this fan just picked that up, just kind of knew that from hearing it. So while I definitely do get a lot of comments that I put your music on and it makes me feel so much better, I do get other ones where people say deeper things and sometimes they are really very accurate. AR: Certain artists are like friends, aren’t they? Certain friends either bum you out or you really look forward to seeing this person again. KN: Sometimes you feel like they’re telling you really more than you need to know. For me, and I’m a listener of music too, I’m going through a pretty intense time of listening to music now that I’ve begun the process of composing the music for the next CD. As a listener, I’m attracted to things that make me feel like I’m being invited in to somebody else’s world, and within that world I look for a whole range of emotions, but there has to be some sort of a humanistic element in there that just is warm and inviting, and to whatever extent my music achieves that then I feel like I’m successful. AR: How much can you share with us about the new CD, that’s in the process right now? KN: It’s very early on. I’m going through a process now where I’m trying very hard to go in musical places that I haven’t gone in before, not so much stylistically but a depth in the composition …and more what I would call linear song forms where rather than it being verse/chorus/bridge kind of thing – its more about ABCDEFG – in other words it’s linear. This is a very challenging thing to do – to write that way and to get into certain areas that I haven’t explored before. It’s kind of part of the learning process. A part of what’s happening with the writing is that I’m actually setting myself out lessons to learn and then the process of writing a song is figuring out the solution to some questions - musical questions - that I’m trying to solve, and even though I’m in my 50’s now, I feel like when I stop doing that, that’s when I shouldn’t be recording any more. So that’s part of what’s happening. I’m also working on collaborating with a new writer musician friend I met this year in Detroit who’s of a like mind and we’re hoping that some of what we do will certainly interact and intersect with each other …in order to take the music to this next level I have in mind. I wish I could be more specific but it’s so early on at this point, the main thing I can say is that I’m really wanting to take a number of steps further into exploring some other areas than I ever have before, not so much stylistically but the tools and the palette, making the palette much broader and much deeper. AR: Discovering new sounds…? KN: New sounds, new rhythms, I’m working on a song that’s in 14/8 time, which means there’s a bar of 4, a bar of 3, and a bar of 3 and a bar of 2 and a bar of 2, when you add that up, that’s 14. So its like a rhythmic thing that has a flow to it that the listener, if I do it right, won’t think about, but it’s going to create a feeling and a flow to a rhythm that’s different than anything I’ve ever done before and so the challenge is to write with a rhythm like that and to make it work and to make it seamless and not to have it come across like anything’s really happening - except that the overall impact is that you’re hearing something that sounds fresh and less easy to pin down than something that you’ve heard from me before. AR: Sometimes, instead of starting out with a template like you’ve just described, do you illustrate a thought? KN: Absolutely, yeah. What I’m doing now is kind of contrary to my usual process; however I will say that what happens for me with writing is that when I’m first getting rolling and I’m really in the first stages, it’s work. Every day I sit down in my studio and say I’m gonna write and there are many days where I would just like to go see a movie, or take a walk or do anything but do that, so what happens is - there’s no way around it, you just have to do the work - and so I do it, and after a couple weeks of this, certainly after a month, something else entirely different begins to happen and I don’t need the tools, the kind of structure I was describing. Instead, sometimes I’ll sit down and a whole song will pour out in 25 minutes. It’ll just all be there because I’m warmed up as a writer. Right now, I’m not that warmed up. I’m getting there, you know? And so whatever I need to get that process to keep moving, whatever it takes to rub the sticks together and have some sparks start to occur, whether its to give myself a structure or whether its to give myself a challenge, can you write something in this odd time signature, or to tune the guitar differently, and what comes out when I do that - these are all things that are valid tools, especially in the early stages. AR: Once you gotten the sparks going, like so many great artists in the past, do you then just stay with it; do you say I’m in the groove, do you go for a couple of days? KN: Yeah, then its easy, that’s when the flow is happening. Instead of waking up in the morning and going o.k., shave, take a shower, go in the studio, keep at it, it’s like I just want to go right into the studio the minute I wake up; I’m inspired, I’m excited, I can see the painting, so to speak, taking shape and I can’t wait to make it better. When you’re pulling stuff out of thin air, which is how it feels in the beginning stages, that for me, takes a lot of discipline and stick-to-it-iveness and so, at this stage , you happened to catch me when I’m at the beginning stage of the process where I’ve been working at it for about seven or eight days now which is actually kind of early for me to start thinking about a new record - usually I wouldn’t start this process till next year sometime. It won’t come out until the end of next year or the beginning of 2009. The Meeting Place is still very much on my plate; the whole business side and promoting the record and making sure that people know about it. AR: The title – does the title for the entire album come to you and I will ask you specifically about The Meeting Place – what significance does that hold and why the bench on the cover and what was that beautiful body of water? KN: Thanks for asking about that. The Meeting Place for me meant a couple of things – primarily for me it meant the position I find myself in with this type of music, where it is very much a coming together of different cultures, different types of people who are pulled together by this type of music. There are a lot of styles of music in America that are really designed for one specific group. I took my daughter to see Justin Timberlake a few months ago and, I mean, that is not designed for me, although I enjoyed it. But, I mean, it is 18 to 24 year old girls – 85 percent. And there’s a lot of music that way – very geared for a specific demographic. But the thing about contemporary jazz seems to me, at least, when I’m doing a show in Philadelphia or D.C. or San Francisco I look out at the audience – it’s like half black, half white, half men, half women, I see people that are in their 60’s and 70’s, I see people that are in their 20’s and 30’s – its such a broad group of people who connect to this music and that is really where The Meeting Place title came from. For me as a musician, the other thing that attracted me to this type of music, the type of music that I’ve chosen to do, is that it allows me to put together my rock and pop influences, my songwriting, my love of Brian Wilson, the Beatles, and all that, with all of my jazz sensibilities and my sense of improvisation and surprises happening in the music, plus the classical influences I have. I actually graduated with a degree in classical voice from the University of Wisconsin in Madison so I studied classical music for quite a few years. The Meeting Place is also referring to being able to blend all of these different things into something that hopefully is my identity. AR: Each song has a flavor all its own. KN: Hopefully there’s something there that ties them together, that makes them sound like me. But at the same time you hear that diversity of influences musically. As far as the cover, every summer my family goes to a little island off of the coast of Ohio called Kelly’s Island – its an island 3 miles by 2 miles – it’s a little oasis; we love going there. It’s a getaway, but it almost feels as though you’ve gone back in time 80 years. When we were there, the one place where you could get internet access we would go to at the end of every day just to check our e-mail and the guy who was our art director chose that week to send us a bunch of different cover ideas that he had based on the title, The Meeting Place. And so one day, one of the things he sent was the final cover on the album, and it looked exactly like what we were looking at every day on this island. In fact, the picture on the back of me is a bench that we found on the upper west northern corner of Kelly’s Island – somebody had propped a bench on a rock that hung out over the water and I sat there and my wife took a picture of me. That photo just made perfect sense to us somehow….somehow, it just gave birth to the idea that The Meeting Place could be this friendly bench rather than some sort of urban type setting which is how I initially conceived it… AR: It’s a very peaceful, soothing image, to go along with a lot of the songs actually. KN: I was a little afraid that it might make people think the album is more sedate than it is, because it certainly has its energetic and up moments; a lot of them actually. But I love the feeling of that photo so much. AR: So speaking of the songs on the album, My Beautiful Girls, you were just mentioning your family. KN: Yeah, that was written for my daughter, Melissa who’s a senior in high school – we’re in that last year with her where we start to really value every moment because it all changes next year – and my wife. My son is away in college; he’s graduating this year and so for the last three years while he’s been at school, it’s just been the three of us. I just felt like writing a tune for the two of them. AR: In terms of the early events of your life, I understand that you were a session musician in L.A. and did everything from TV music to film music. Do you remember any of the movies that you did music for? KN: There were a lot of different ones. I still get residual checks for them. ..When you’re recording for movies, sometimes they won’t even have a final title for it. .. Sometimes the composer has everything written out and sometimes I’d be there almost as a co-writer to bounce ideas off the picture we were looking at. A lot of the work I did was jingle work; I did a lot of commercials. I remember doing some TV shows; I worked for Nell Carter…I played on Family Ties. I had a chance to play with quite a few people; unexpected stuff. I remember playing a backyard party in Beverly Hills; just another gig, or so I thought. But it turned out it was a fundraiser for Gary Hart, and who should show up but Cheech Marin to sing with us. At that time, his big hit was Born in East L.A. To me that was worth going there – I would have paid them! Almost everybody in L.A., no matter what they did, would play a wedding on a Saturday night or Saturday day; its part of how you made your living... I played with a lot of really great people… I met a lot of people doing that… AR: So you went from being at the behest of a lot of different people to being the owner of your own record label, Positive Music Records. How does it feel to be the man in charge? KN: Obviously, it’s a desirable place to be, and I don’t want to sound like I’m complaining, but since you’re the one responsible for all the business decisions – how you’re going to promote a release, how you’re going to get it on the radio, what you’re going to do when technology changes – you have to deal with all that stuff and it can pull you away from being the musician. Early on, when I first started doing it back in 1990 and I founded Positive Music Records, and I had all these hats on, I found I had to forcibly take one off and put the other on, and now it comes much easier to me to go back and forth. I have the priority very firmly in my mind now - musician first, the business is a necessity that has to be handled, but I’ve learned how to do it. The other part that’s a challenge is you are responsible every day for figuring out what you are going to do…sometimes situations dictate those priorities. But you’ve got to be self-disciplined to do what I do and stick with it. It’s a challenge sometimes, and something I resent a little bit, because I would rather just focus on the music. AR: When you get done with the planning, and you finally get to step up on stage and play the instrument, I bet it’s just a relief at that point. KN: Yeah, that I don’t let anything interfere with if at all possible. That’s like…for me it’s an analogy to sports. When it comes time to play the game, all the practice, all the preparation, has to give way to trying to be in the zone. Especially with what I do, where there is quite a bit of improvisation involved. You’ve really got to be in a place where you’re not conscious, even about the music itself, you have to let that flow out on its own; there’s really no room in that situation to be going back and forth with hats… AR: It was a pure pleasure speaking to you. I look forward to seeing you when you get to town. KN: Thank you, I enjoyed it.

• Search for on line photo processing
• Stores for on line photo processing
• News about on line photo processing
• Images for on line photo processing
• Shopping for on line photo processing
• Articles for on line photo processing
• Videos for on line photo processing
• Jobs for on line photo processing
• Audio for on line photo processing
• Blogs for on line photo processing
• Shopping Comparison for on line photo processing
• Ebay for on line photo processing
• Home