The apps just keep getting better and better.

Today I downloaded the Prisma app onto my iPhone. This is a quick self portrait I did a month or so ago. The others are Prisma conversions. Each took about 30 seconds. 

 Original oil painting on paper

Original oil painting on paper

 Prisma 'drawing' conversion

Prisma 'drawing' conversion

 ... Painting conversion.  

... Painting conversion.  

These are fabulous! And I think the app was free😜 

Riverfest 2016

Judith Reeve and I will be sharing a booth at this years Riverfest


Judith Reeve grew up along the Delaware River, not far from Chadds Ford. At the age of nine, she met Andrew Wyeth. This meeting, in hindsight, was a pivotal moment allowing her to recognize the possibility of painting being a vital life-long pursuit. For more information visit Judith Reeve at

As a student Jim Kingston studied the Brandywine style of Illustration under Norman Baer, a disciple of Howard Pyle. He spent his life in the world of humorous illustration, commercial artist and as a leader in transforming art-production into the digital age. Working in watercolor for most of his life he has transitioned to oil painting over the past 5 years. For more information on Jim Kingston visit his web site;

For all you Dr. Who fans

Behind our house in the woods are a group of Dalleks masquerading as pine trees. The powers are great. But what are the chances of Dr Who showing up here.

Ex term in ATE!

Oil on canvas 9 x 12

Paintings in the works, plein aire, and life painting

I've been busy. Shifting directions a little bit. Not a lot, I'm returning to a more expressive style. A few years ago after a long absent from painting, a five year stint at Bloomberg News, I started a little quest to paint with a more realistic polish. I think I achieved the goal but find the polish a little dull. 

For over a year now I've been painting long, up to 9 hour, life poses at Johan Sellenraad's studio. With Johan and Judith Reeve. Two very different influences. I had found myself being frustrated with my fairly good attempts at realism. Real but not expressive. Too much chasing what I thought I was seeing. I had been 'studying ' Judith's color palettes based on the teaching of Robert Henri. That forced me to expand and starve my palette at the same time. Great fun great results. Gone are the umbers and earth tones here now is color based on light. 

At the same time I was building Johan's web page in Squarespace. He had it all organized all I had to do was execute it in a format. It was a revelation. Highly expressive realism in coherent theme. Compositional challenge is the cornerstone. Most of the time copying what you see isn't really challenging. It's the artist job. Johan has done a great job of this for his long artist life. 

The Upper Delaware River Painting Society. Earlier this spring several of my painting buddy's formed a Facebook group the promote outdoor painting. Really it was a way to force us into the outdoors because we'd rather stay home and eat doughnuts. 

So lot's been happening. Lot's more to come.


Stone arch bridge at Ten Mile River pain air

Ten Mile confluence with the Delaware Plein Air

A quicky sketch of yours truly. I'm smiling

The latest from life painting at Johan's

A shop at the Dorlinger Glass factory village in White Mills, PA

Just Enough for Pie... and other works in progress

I may seem like I haven't been doing anything but I have. Here are two of the efforts I been slashing away at. There are a couple of others that are not ready to release into the wild as of yet or ever.  As you see this stuff is a bit bigger, a lot bigger than 6 x 6s that I was doing over the previous few months.  I've expanded my oil palette a bit to a broader spectral selection. Not there yet The acrylic is not a broad palette but should be. I'm going to finish it with oils to liven it up. The saturation of color in the apple piece are kicked up from the set-up. There are things I'm beginning to look for that are away from the realm of just matching color to define realism. Let's face it just matching color sucks. I've always known that. I want you to want to bite those apples. CRUNCH! 

Both of these pieces are about half way along. I keep swapping them on the easel along with one other in particular. One thing about working larger - it takes longer to paint!

Just Enough for Pie 36 x 24 oil on line

Pemaquid Point  24 x 18 Acrlic on panel

Row, row, row your boat

This is a painting I finished recently. Three lobsterman's tenders. I have had a feeling for rowwing boats since I was a kid. Uncle Jack Sweetser had a beautiful old rowboat that he and cousin Raymond taught me how to fish in. Uncle Jack was an old fishing guide and had many stories of how he and his fellows would run trot line for cat fish or how he and his boys would pile into the Model T and drive far up into the White Mountains because the trout were running. He rolled his own and played the Harmonica. He taught me the joy of catching fish in that old rowboat. Uncle Raymond taught me how to fool the fish with artificial lures. I can still vividly remember my first surface strike by a largemouth bass on a Jitterbug. I still have that lure today. I remember it every time I catch a fish on an artificial bait today. 

This boat painting is the result of imagination and drafting. A simple pen and ink doodle drafted in a 3D program and painted with plastic paint. Not the result of observing the 'real' world. More a desire to create my own world. Like the one on Angle Pond at Uncle Jack Sweetser's camp.

Land-escapes. The discovery of light. Or You're never too old...

I have never been a big landscape guy. I love landscapes. They've just always seemed so complicated. All those damn trees. How do you paint those damn trees. Recently a friend of mine convinced me to join her in a workshop with landscape artist Peter Fiore. It was an renewing experience. There was a lot of information passed around. Much extremely useful. But non more than the statement 'You are painting the light.' I have heard this many times since art school. Many of the my photographers friends talked about it. Painters  told me that they owned their success to the moment that they discovered light. I accepted all of this as gospel and continued with my humorous illustration. Line and wash drawings where tone and value were at play but not necessarily light.

For years my painting were representations of accidental light. Random. Good luck. Bad luck. My encounters with light were totally accidental without the understanding that I was in control of my light. Not in the sense that I could move the sun about in the sky. But I could be in the right place at the right time by design.  

At the same time I was preparing for Peters workshop there were a couple of news bits floating around about apps to help photographers 'chase the light'. One is an add on to an APP called The Photographers Ephemeris  or TPE. Which offers as an optional 'add in' called Skyfire. These tools are supposed to help with finding light events related to sunrise, sunset, weather conditions and track the path of the sun. After the workshop I bought the TPE app and SkyFire add in. Heres some resulting work based of chase light based on information vs luck.

Completed study

Work in progress    Locust Lawns 22 x 8 oil on Raphael Linen 

This was in the morning, not dawn but early light. I was bight enough to casta shadow but defuse. A very hilly river valley.

My Font Yard  14 x 7 oil on canvas

This is the first successful attempt at achieving light. When I say successful I mean that I understand the value structure. I may not have expressed it right but now I'm understanding it.

Study oil on paper

Needless to say that this 'new' awareness is helping with other challenging lighting situations.

Looking to the Catskill  Photograph 

Another result of chasing light with previous warning