Shop Mobile More Submit  Join Login

Similar Deviations
Many of us start with one brand of polymer clay to start, and as we embrace the clays pros, we often eventually get used to the cons as well and work our way around them. But what if you knew which brand was right for you before you even touched the clay? Each polymer clay brand has many characteristics that make it distinct from other brands, so if you are looking for a specific trait in your clay, you might want to read on. Who knows, you might find something better then what you are working with right now.

I have personally tried every popular brand of polymer clay, and there are about five of them. There are also the polymer clays that require painting afterwards, like Studio by Sculpey as well as Super Sculpey... but I will not get into those.

The five most easily attainable clays are Fimo Classic, Fimo Soft, Sculpey III, Premo, and Kato Polyclay. Each have their own distinct characteristics, pros, cons, and baking times. These are my findings in point form:

Fimo Classic
Baking: 230°F / 110°C for 30 mins (per 1/4" thickness) Do not exceed 265°F / 130°C
· The firmest of the clays. Although it has gotten softer after many new formulations over the years. It has suffered many problems in recent years due to unsatisfied sculptors who favoured the old formula over the new ones.
· Difficult to work with, especially for beginners.
· Needs quite a bit of conditioning, preferably by using a mallet or by using a pasta machine.
· Tends to crumble over time, especially if poorly stored.
· Comes in a wide range of wonderful colours, including pastels.
· Great for caning and firm enough to sculpt easily.
· Certain colours can darken in the oven.
· Very hard after baking.

Fimo Soft
Baking: 230°F / 110°C for 30 mins (per 1/4" thickness) Do not exceed 265°F / 130°C
· Extremely easy to work with.
· Good for beginners.
· Softer than Fimo Classic but not as soft as Sculpey III.
· Does not need any conditioning, and can be worked with right out of the package.
· Can get sticky or mushy when over worked.
· Can be britle after baking, but not as britle as Sculpey III.
· Darker colours can bleed into lighter colours.
· Comes in many different colours as well as special effects like stones, textures, metallics, glow in the dark, translucent, etc.

Sculpey III
Baking: 275°F / 130°C for 15 mins (per 1/4" thickness)
· Extremely easy to work with.
· Great for beginners.
· The softest clay to work with.
· Does not need any conditioning, and can be worked with right out of the package.
· Can get sticky or mushy when over worked.
· Can be very britle after baking - the weakest of the clays.
· Colours tend to stay the same before and after baking.
· Translucent Sculpey tends to brown while baking.
· White Sculpey is very bright.
· One of the best colour palettes of clay there is. There is metallics, stone, textures, pearls, translucent, glow in the dark, pastels, fluorescents, etc.
· Not very good for caning, but some people HAVE accomplished it.

Premo! Sculpey
Baking: 275°F / 130°C for 30 mins (per 1/4" thickness)
· My choice as the best clay to work with. Highly recomended!
· Easy to work with.
· Softer than Fimo Classic or Kato, but not as soft as Fimo Soft or Sculpey III.
· Needs minimal conditioning.
· Certain colours can be a little soft, but most are nice and firm.
· One of the strongest clays after baking.
· Colours tend to stay the same before and after baking.
· "Frost" Premo is one of the best translucent clays.
· Has an "artist palette" when it comes to colours. Such as Cadmium Red, Zinc Yellow, etc. Artists find this fantastic, but if you aren't very aquainted with the artists palette, it can be a little difficult to mix colours.
· Not as many "fun colours" compared to other clays.
· It can be very temperature sensative, so it can get mushy on hot days and really hard to work with in the Winter.
· A great "all purpose" clay, and a total happy medium between all other clays.

Kato Polyclay
Baking: 300°F / 150°C for 10 mins (per 1/4" thickness)
· A very firm clay, but not as firm as Fimo Classic.
· Not recommended for beginners.
· Needs conditioning - preferably with a pasta machine.
· Can become crumbly if poorly packaged.
· Does not stay conditioned (workable) for long.
· Baked Kato Polyclay has a natural sheen.
· Surface seems to reject waterbased glazes like Varathane.
· Great for caning.
· Not as many "fun colours" compared to other clays.
· "Translucent" Kato Polyclay is very transparent.
· Strong after baking.
· Has a very strong smell during baking. Almost like the smell of "new doll".
· Tends to *gunk* up the sandpaper if you are sanding it.
· Is very good at smoothing and leaves little fingerprints.
· All colours tend to be the same firmness.

In Conclusion...

My personal favourite clay to work with is Premo. It really is the happy medium of polymer clays, although it isn't exclusively what I work with. I do not work with Fimo Soft or Kato much, but I love Sculpey III for it's awesome colour palette, and I ocassionally use Fimo Classic because it is so firm. If I need a lot of one colour, say... a nice bright red, I tend to combine one each block of the Sculpey III "Red Hot Red" with Fimo Classic "Carmine" and Premo "Cadmium Red"... the result is a fabulous bright hue of red with the firmness of something between Premo and Fimo Classic. It's lovely.

I really dig the "Frost" Premo as opposed to the "Translucent" Premo. The difference is that a bit of bleach has been added to "Frost" which results in much less browning compared to "Translucent".

Mixing brands can be done no problem, all you have to do is adjust the baking time. For example, if you are mixing Fimo Classic and Sculpey, you should go with the lower temperature for Fimo Classic, and possibly bake it a little longer. Just experiment, and use your best judgement!

Comment me with your findings to share your thoughts with the viewers! Who knows, we might all learn something. Happy claying!
Add a Comment:
No comments have been added yet.

OMG! HI everyone! :squee:

thank you guys soo much, 400 watchers is huge deal for me!
In celebration of this 400 watchers, I will be doing a free plushie giveaway!
I will be giving away a "chibi plushie" of your choice! It has to be one that I've already made.

Steps To enter this giveaway:

Bullet; Pink favorite this journal entry

Bullet; White watch me!

Bullet; Pink must comment on this journal entry

THIS GIVEAWAY WILL LAST TILL JUNE 15TH! :bulletred: so hurry now!!
  • Playing: Earthbound
Add a Comment:
No comments have been added yet.

I finally took some time to make what (I hope) is a decent tutorial on how I make the leg armatures in my soft mounts, because I've had so many people asking me how I do it! And I don't know how to livestream stuff so I figured I would just videotape the process of working on my latest coyote, so that way I can just send the link to anyone who asks in the future. It's a long process, and I admit its not the most exciting video to watch, but I edited it down to a tolerable length, so hopefully you can learn a thing or two from it! :) 

Add a Comment:
No comments have been added yet.

Important: Have you Notified your Stock Providers?

Journal Entry: Sat Jan 25, 2014, 8:42 AM
Hi all,

I just wanted to take a quick moment out from registering people for the Photomanipulation Tournament to bring to your attention an issue that is plaguing our community.

I think a lot of people think that, with the new Mentions system, there is no need to notify stock providers when you use their work. This is untrue! There are a few of reasons why you still need to notify them via note or comment, as per their preference, when you use their stock:

1. Some people turn their Mentions off because they get to be annoying. Thus, if you don't tell them, they may never see your gorgeous work.

2. Stock providers like to keep track of your work, and notes/comments help with that.

3. If your stock provider doesn't see your work, he/she can't give you love!

4. It is almost always in a stock provider's Terms of Use to NOTIFY OF USE. If you cannot follow the TOU (including notifying them via note or comment), please don't use the stock.

Please keep this in mind next time you submit a photomanipulation or other deviation that uses stock or resources. We are so lucky to have an absolutely amazing stock community, and it is important to honor their wishes and show them respect.

And while I'm at it, I couldn't give a few DDs that I wanted to give last week because people didn't credit or wrote, "I'm tired and will add credits later." Seriously? Don't upload until you are able to credit. Again, it goes back to being fair and honoring these wonderful free gifts we are being given as members of the photomanipulation community on dA.

Carry on, and don't forget about the TOURNAMENT!!

Thank you,


Don't forget this important step in crediting your stock providers!
Add a Comment:
No comments have been added yet.

updated terms of service (slowly updating)

Journal Entry: Thu May 9, 2013, 11:13 PM

Before you intend on commissioning please read the following terms of service. Upon sending me a request you have acknowledged that you have read and are in compliance with the terms of service.

Important Info

Things you need to include in your (first) note when ordering a commission
This is the info you need to include when ordering a commission, if anything is missing I will not be able to accept your commission.

1. Include your references! I prefer clear image references but if not. Please understand, this is to avoid errors that happen because references provided were vague or/or incomplete.
2. Your paypal email, at the moment I only accept commissions through paypal
3. What style/type of commission you are intending to purchase

I usually go through the notes in chronological order (reading the ones sent first). But I can only consider orders with all the information included. So even if you have sent a note first but you haven't got all the info, that slot can be taken by someone who has sent a later note but has included everything!!!!

Subject matter

1. References should be very clear and any specific requirements/details mentioned.

2. I will correct any mistakes, given that they were made on my behalf (e.g. I misread a description), I do try to read/look as closely as possible  but I might make a mistake. However if the mistake is as a result of insufficient information (e.g. unclear references, the element is not mentioned prior to me accepting the commission), you cannot force me to correct it. There will some leniency with whether or not I choose to correct something depending on how clear/unclearly it was described and the size of the error. However under no circumstances will I redraw a commission.

3. In regards to artistic freedom, I will make stylistic choices, if these fall under anything you have not specified before we agreed on the commission.  If you would like me to use the exact colours (literally taking the colour picker tool to choose colours), please tell me as such because I tend to stray slightly from exact colours so that the image seems more harmonious. I may be willing to edit them. However I will not redraw a whole piece because you didn't tell me exactly what you wanted.

4. If you are commissioning a character that belongs to someone else. I would like a confirmation that you have permission to do so. This is a rather vague condition because I know that sometimes people might want to commission surprise gift art but on the flip side, I definitely do not approve of commissions of stolen designs. Since this is so ambiguous, if you are commissioning a character that isn't yours, please inform me.

5. I will not draw in any styles that are not being offered at that moment in time whether they be mine or any other styles (e.g. other styles from specific cartoons or other artists styles.)

6. Since I don't really have a list of things I will or won't draw, I reserve the right not to take commissions for what ever reason, specified or unspecified. For instance if I find it is not within my ability or I simply do not want to draw it. However you are welcome to ask me whether I will or won't draw something.


1. Do not send the payment until I have agreed to take your commission.

2. I will only accept payments through Paypal, I take only USD unless listed otherwise.

3. I will generally send an invoice with an all inclusive fee.

4. All payments are to be made upfront unless I have suggested and we have both agreed otherwise. I will not start your commission or add you to the commission list until the payment has reached my end.

5. I reserve the right to cancel a commission if the payment has not been made in a timely manner. I will be the judge of this since I understand that you might have some trouble sending the payment over. However what I usually consider as a timely manner is 36 hours, to cover any issues resultant of timezones and time differences.

6. Displayed prices are subject to change due to complexity of the art requested, however they will generally fall in the price ranges shown.

Deadlines and refund policies

1. It is possible to set a deadline for when I must finish the commission by. However it may influence whether I do intend to take your commission or not and the price of the commission.

2. If the deadline is not met, I will provide a full refund, excluding transaction fee for the commission.

3. Any cancellations made without a legitimate reason, I will be the judge of this, may or may not receive a refund. However if a suitable reason is given I will refund the payment minus the any work already completed and send over the incomplete piece.


1. At the moment all correspondence regarding commissions are to be made through deviantart notes.

2. You may check on the progress of your work and ask for WIPs (work in progresses, simply a screenshot of where I am up to), given that this is done in a civil manner. However I'm not obliged to provide WIPs especially for smaller scale works such as pixel icons etc.

3. Rude, disrespectful and/or abusive commissioners will have their commissions cancelled and be refunded minus any progress on their commission made before the event. I may also block/ignore or refuse commissions from them without any questions asked.

Rights/copyright and permissions

1. I own the full rights to the work, unless we have both made an agreement for the commissioner to pay for the full rights. In short the commissioner does not have full rights to the artwork unless these rights have been purchased and specifically stated by me only.

2. The commissioner is never permitted to edit/modify, distribute, make merchandise, claim credit, use for advertising whether under any circumstances without my explicit permission be it for profit or non-profit.

3. The commissioner is not permitted under any circumstances to crop, edit/modify, change, recolour, filter,  trace, vector or appropriate the art in any way unless you have explicitly asked for permission. Only resizing the whole image for thumbnails is permitted. When ever in doubt please ask.

4. If the commission is to remain private (i.e. I may not post it any where), this may entail an additional fee and must be mentioned before I accept the commission and become a term of the commission.  These commissions are not permitted to be posted on public websites under any circumstances. Simply if I am not allowed to post the commission, neither are you.

5. If the commissioner has any restrictions on where the art can or cannot be posted, similar to private commissions, this may entail an additional fee. This must also be stated before I accept the commission and will become a term of the commission. Commissioners are not permitted to posted the art on the websites that have been restricted. Again if I cannot post it on a certain website, neither can you.

6. The image is allowed to be used by the commissioner for personal uses such as wallpapers, icons etc. However if the image is public, credit must be visibly given to me, the artist.

7. Commissioners are not entitled to the psd, sai or other files which contain layers. I will only send the commission as a png file or gif file if it is animated. If you have commissioned an animated piece where saving it as a gif file compromises the quality, you are able to ask for the png file.

8. After you have received your finished commission (this includes any correction of mistakes) the transaction will be over and you are not permitted to ask for a refund.

9. It is your responsibility to upload the image to another server after I have sent you the link. I don't tend to keep the files on my computer after I have uploaded them so the image is lost on the hosting site. I will not be able to retrieve it for you.

If you've got any questions regarding the above please don't be afraid to ask!


1. Refer to this for terms of service regarding adoptables

CSS made by TwiggyTeeluck
Add a Comment:
No comments have been added yet.

More Critical Thoughts on Art School + Career Path

Journal Entry: Mon Apr 9, 2012, 1:49 AM
Hey everyone, thanks for the info on San Francisco for those who live in / near there. It's a big thing for me to still be thinking about, so I'll definitely be coming in for a visit before I make any final decisions.

Elsewhere, I've been meaning to do a short rant dealing with how I feel retrospectively having gone to art school. I've talked about having gone before, and I've given some advice about choosing a school that's right for you should you choose to go. But you know, having been out for a couple years now, there are a few glaring problems I see not just from the school I attended, but apparently from many schools nationwide. And this deals with offering students a clear path of study for the often specialized career they are looking to get into. Areas of art such as (concept) design, animation, comics/storyboarding/sequential, full-time freelance, and all-over jobs related to working in industry-level professional positions, or in a teamwork-oriented studio setting. (This rant almost exclusively applies to this group, and as you'll come to detect, is almost completely targeted at my own school, so expect many specific accounts and frustrations.)

Let me begin by saying, (in my opinion,) that illustration is inherently a type of art that one does to convey information and ideas and otherwise done as a profession, job, for publishing, source of income, or personal project, etc. Not typically something to be created and hung in a gallery like how fine art usually is. Illustration is more consumed on a greater, reproduced scale.

I have no doubt in my mind that there are many students right now studying in their school's illustration department with the perceived notion that they will receive all the training they'll need to work professionally in a studio. These students know what they want to do and are looking for the instruction to get there -- but there's a good chance they're not going to get it.

I was one of them, and my school completely failed to instruct me on what I needed, and indeed even failed to inform me that the type of instruction I was looking for was not offered in their curriculum. (I should note, however, that I was a bit socially awkward and also didn't talk much to my school about what I was looking to get out of my time there. But, I also know too well that had I talked more, they wouldn't have told me I had come to the wrong place, either. So my conviction remains. The only thing I could've done was do a serious amount of research on the school first, but I'll get to that.) By the time I graduated, I have to admit I left with a deeper understanding and appreciation for illustration -- and some new skills along the way -- but was that enrichment worth over $80K? Having graduated without being offered any teamwork-based "model-studio" style classes or technique & concept building beyond the basics, I felt like my time there should've been only worth 1/3 that at most.

"Well, you see, you get out of it what you put into it! You just have to morph those undesired classes into something more relevant to yourself!" some say. I agree, I've said that too. But when you stop to think about it, when you're paying a huge amount of money to be instructed on subjects that you know you want in your future, shouldn't you never have to take a class that is completely irrelevant to you? What are you paying all that money for, by that point? To do work you'd do on your own outside of class anyway? If you want to broaden your horizons, you should choose to take those classes, not be forced to and waste your time. Although sometimes we don't have a choice. One of my main goals when I was at school was to focus in digital medium. Photoshop, digital panting, 3D, etc. I knew that based on where I wanted to head with my career, it'd be perhaps the only medium I'd ever use (and even be asked to use.) It's frustrating thinking back, and in all my four years there I was able to only take 3 digital related courses. Because only 3 were offered. Digital Basics (a rough introduction to PS, IL, and ID,) Advanced Photoshop (focused more on using the program and its various tools than technique and workflow,) and Painter (again, using painter to make images.) It was all pretty wishy-washy, sort of like a study hall with intermittent explanations, to the point where I fear that most of the students who aren't familiar working with digital forgot everything they learned in those classes as fast as they did "How to play the Recorder" in their 4th grade music class. Instead, we literally had everything thrown at us, especially during the second and third years, at such pace that it came off as side-tracking and useless. "We're going to learn how to use acrylics for the next 5 classes. Alright, now we're doing oils. Alright now we're doing watercolor. Alright now we're doing sculpture. Alright now we're doing collage" -- like this all in one semester. "All right, now we will never speak to you about any of these mediums ever again for your remainder in this school. Congrats, you're all certified to have been introduced to EVERYTHING and be a master of nothing."

"But it's about broadening your horizons! Maybe you never thought of using acrylics before?" is a common rebuttal. Which is true, although for me not as much specifically because I knew for a fact I never wanted to. It's a matter of focus, that there's a complete lack of it. What about the kids who DID want to learn and master acrylic paint? (Or painting in general for that matter.) I don't know about other schools out there, but the classes we were offered taught the base fundamentals of how the medium worked and then kinda left us to figure out the rest ourselves if we chose to use it for each assignment from that point on. They'd have to move over to the fine art department if they wanted further instruction on technique and workflow. For me, I just made all those assignments fit my digital medium goals -- "turn those useless classes into something personally relevant" indeed. Had there been more specialization in place to teach these students exactly what their core interests were, they would grow on their own exponentially after receiving the total foundation for their focus, rather than fragmented bits and bobs from every focus.

Not all students know what their focus will be for their first year in school, of course, I understand that. (I have other thoughts on this, see below in a moment.) However, some may not know even by the time their fourth year rolls around, which to me certainly sounds like the school is failing if the student still has no clue what it is they want to do with their career by then. Perhaps the "throw everything at the wall, see what sticks," technique isn't working and is perhaps only confusing these students further. So this is sort of what this entire rant is about -- it's a warning for lots of you who are considering art school. Heed these personally recommended warnings:

Look into it much closer than just it's campus layout, tuition costs, and samples of previous students work in the promotional guidebook. Look at the offered curriculum. Is your school part of a larger university? Mine was. Know what that means? More distractions! Aside from my art courses, I was also required to take utterly useless (literally high-school level) academic courses inbetween the art in order to get a BFA certificate. These classes were so terribly distracting, on a COMPLETELY DIFFERENT campus in an adjacent city, that I paid almost no attention to them and got terrible grades, grades that can land a person on academic probation if they're not careful. When you're trying to build a portfolio, it's just not something you want to be dealing with. Check to make sure if the school even offers relevant classes to what you want to do. Want to model 3D for games and animation? It's a pretty essential skill if you want to work for a game studio. My school offers nothing of the sort. Had they, I would've undoubtedly taken it. Ask the school you're considering what these classes offer. Leave no doubt in your mind that it will be able to satisfy you if you know what you want.

This can be taken two ways: is the school worth YOUR money? Or is your money worth spending on art school? Both are important. If you're not in college right now, remember that it isn't required RIGHT after high school. You have time to think about things, even see how you fare 100% on your own. That could be worth being debt-free, but you'd have to have strong self-discipline. This, by the way, leads to...

It's hard to tell how important a BFA is these days if your work is good enough to stand on its own merit, especially if you have a work ethic and personality to match. There are many specialized schools which teach for only one year, but do so in such a focused manner that you learn everything you'd need within one year of full-time hard work. These schools don't get you a BFA, but they can potentially give you more experience than all the instruction you'd get in a 4-year institution for only one year's cost. If you're getting hired for your skills as an artist and a creative thinker, that experience should be all you need, and all that a smart studio should be looking for. This isn't to say that you shouldn't have one, or shouldn't need one -- after all, if you haven't gone to school yet how do you know how much you'll improve by the time you graduate to make it worthwhile? If you choose to, though, it IS possible to work professionally without even having gone to school. You just have to beat your own ass to get there.

And lastly,


What's up with grading in art schools? How do instructors grade art? "D. This did not meet my personal tastes. Try again." I understand that it's probably more of a mark to tell the student how much effort the teacher perceived, but telling the student that in critique (like how all art should be reviewed) is likely to be far more effective because it's done in front of all your peers where you feel pressured to perform better next time, you learn some crucial humility to crush your cockiness from thinking you could've gotten away with such poor effort. Grades just reinforce the feeling that you're a student. A student. With homework. Homework that you'll procrastinate on because it's HOMEWORK. Art students shouldn't be treated like students, but instead like employees, and their work taken as seriously as a job, and if they don't perform they eventually get fired (from the class.) And if they want back in to try again, they need to re-interview with the teacher as to why they'd be a good fit to be part of the team again.

This rant has not been proofread because I'm rambling. This has obviously been bothering me for some time, hahah. Your mileage will vary on this.

Add a Comment:
No comments have been added yet.

thanks so much everyone for the great feedback on my steampunk transformers series. i have been getting a lot of requests to put them on shirts...well here you go, you will find the links to the store under each image. i just finished bumble bee and now i want to ask you which transformer would you like to see next? leave a comment and the autobot or decepticon that gets the most votes will be illustrated next. thanks
Final by BrianKesinger…

Megatroncomp by BrianKesinger…

Soundwave by BrianKesinger…

Bumblebeesm by BrianKesinger…
Add a Comment:
No comments have been added yet.

Street Photography for dummies

Wed Nov 23, 2011, 12:10 AM

<da:thumb id="200158918"/>

What do we need to shoot a Street picture?

1. A camera

Whatever kind of a camera is good. Either it is a ridiculously expensive rangefinder or an unbelievably cheap point and shoot compact. Either it shoots digital or it shoots film. Either it weighs a ton or it weighs few grams. ANY camera is fine as long as you have it with you.

2. A public place

This can be out in the streets or at the beach or inside a hotel's lounge or in a diner place or inside a supermarket or a mall or a school or whatever PUBLIC place. This public place must be visible in our picture. And things must be happening in this public place.

3. People

Exactly, people! We need people in candid situations. Definition of "candid" from Merriam-Webster's online dictionary: "subjects acting naturally or spontaneously without being posed" Definition of "candid" from Wikipedia: Candid photography is best described as un-posed and unplanned, immediate and unobtrusive. This is in contrast to classic photography, which includes aspects such as carefully staged portrait photography, landscape photography or object photography. Candid photography catches moments of life from immersion in it.

4. A story,

a unique moment, an interaction between people and their environment or between people and people, a special "something" that is being happening in front of our eyes and it is worth capturing in a picture.

There's nothing special in people strolling down a street if we can't focus our attention in something special that's being happening in front of our lens.

Let's see now some examples of pictures that I don't consider as  "street".

First Autumn Rain-Song+Lyrics by StamatisGR
We have the street, we don't have the people here. 

Here we have the people but we don't have the environment, the place.

Warm light, cold women by StamatisGR
Both people and environment are present here, but there isn't really a strong interaction between them.

Colour vs B/W

Street photography is very much about composition. Sometimes colour can be distructing. Sometimes colour adds to the frame. Try both. Decide yourself what suits you better in every particular picture. Avoid selective colouring, partly desaturating or tinting. Street needs no cheap frills which make a good image bad and a bad image worse.

Street, Photojournalism or Portrait?

Very often, the line between Street Photography, Photojournalism, or Portrait Photography is very THIN and responsible for endless arguements. Many times there are subtle differences between these 3 categories. But these differences are not the subject of this SIMPLE street photography guide.

Useful resources and articles

:camera: For a more complete guide about Street Photography make sure to click on this… and download the 160 pages book included. It's mostly full of great examples of what Street Photography really is.

:camera: Another article certainly worth every minute of reading it, is this:…
:camera: A bunch of links from the The-Yard-Collective the-yard-collective.deviantart…

Please feel free to ask me anything, concerning the Street genre. I'll do my best to answer you.

See also: Street Photography for experts

Add a Comment:
No comments have been added yet.

Street Photography - The Origins

Fri Nov 25, 2011, 12:44 AM

My Street PhotoBlog: Streets of Athens

If you like what you read, please :+favlove: this article so it reaches more deviants

As we all know from the movie My Big Fat Greek Wedding everything was invented by the Greeks. Well, ok we left some trivial things to be invented by the Chinese as well. What you may not know is that Street photography was also invented by the Greeks before Photography itself was even invented. :lol:

Seriously now:
Kairos is an ancient Greek word meaning the right or opportune moment or "the supreme moment". The Greeks believed the concept of Kairos is achieved when such a moment is grasped for otherwise the moment is gone and cannot be re-captured.  According to ancient Greeks, Kairos was the god of the “fleeting moment.”
Interestingly the ancient Greeks had two words for time, chronos and kairos. While chronos is quantitative, kairos has a qualitative nature.

Does the above remind you of the "Decisive moment", the essence of Street Photography? ;)

Street Photography - a brief history show

better viewed in full screen

Street photography stems out from another type of photography called documentary photography. Documentary photography was once known to be the most honest and truest to life picture taking. Street photography reflects society in its untainted natural state. This accounts for many photographs we see on the Internet and magazines that reflect what was happening at the time.

When Street Photography Started?

The genre of street photography started between the end of the 1800s. One of the assisting inventions of street photography was the 35-millimetre film. The 35-millimetre films were first introduced towards the late 1800s. Photographers of both Europe and North America spread the popularity of the genre and developed the art behind it. Some well-known street photographers of that time were Henri Cartier Bresson of France and Robert Frank of Switzerland.

Photography first emerged in the first half of the nineteenth century, but it wasn't until roughly the 1880s and 1890s that film speeds became advanced enough for a normal street scene to be captured (without having to use a long shutter speed that would normally result in blurs). Also around this time, the flash was developed, allowing the photographer to venture into areas that were once too dark for exposure.

Art Becoming History

As time passes on, street photography goes from being a piece of art to a historical document. What might seem like ordinary street photography today will eventually become a window into the past, and that's what makes it great.


Add a Comment:
No comments have been added yet.

I am strangely fascinated by half finished pictures. I love the way that in amongst all the rough sketching there is a section of shaded, finished 3D image and it makes me think pencils are amazing.

So! I decided to host a Half Finished Contest!

The aim:
-the final piece must only be half finished, for example a girl in a dress where only the dress is finished and shaded and the girl is still sketch, or the girl is finished and the dress is sketched.
-But I don't want WIPs, I want pictures that look intentionally unfinished.
-It must be in a traditional medium.

Since this is the contest for PencilsPlusArtists I doubt it'll be particularly big, so the prizes will only be small.

1st Place: 3 Months Premium Membership
2nd Place: 600 points
3rd Place: 200 points

All of these will also recieve a llama badge and a feature on my page.

Send me a link to your picture or post it to the Competition folder here at PencilsPlusArtists. Feel free to ask any questions you'd like.

The deadline will be 17th of August.

Good Luck!
Add a Comment:
No comments have been added yet.