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Nancy V. Ridenour grew up in a florist family in Schenectady, NY. She graduated from Cornell University with a degree in biology and worked in Laos for five years as a volunteer in the villages. When she returned to Ithaca, she became a biology Teacher at Ithaca High School. In 2005, she retired from teaching and enrolled in photography classes in Ithaca. Those classes led to expertise in photography and photo processing. The pleasure of producing digital images led to her joining the artistic community in Ithaca. The subject for the digital images includes cement sculptures in Ithaca, cityscapes in Manhattan and Chicago, birds in Florida, and flowers in personal and public gardens. Since 2005, Ridenour has been involved in over one hundred photography shows, both group and solo. These have been in Ithaca surrounding cities, as well as a gallery in Chelsea in Manhattan and a gallery in Red Hook, Brooklyn.
“I am a digital photographer who focuses on capturing the beauty and essence of botanicals. I particularly enjoy the detail revealed by macro lenses. Each flower has its own character, some soft and comforting, others bold and assertive. I grew up in a florist family and was surrounded with floral elegance and aromas. That background led me to pursue a career in teaching high school biology, with strong emphasis on the roles of botanicals in our lives. Upon retirement, I took photography classes at a local community college and developed a renewed interest in expanding my expertise. I am inspired by the softness of light in the morning as it rests on the flowers in my garden. The afternoon sun involves back lighting and a different hue to the floral image. I take photographs in personal and public gardens as well as within my studio. I have been nurtured and encouraged by comments on social media and at my photography shows.”
“Art is human made. My philosophy of art is to produce pieces that are aesthetically appealing, whether a representational capture of an object or an abstract interpretation of observed objects.”
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How To Return a Purchase? If you are not completely satisfied; you can return your art within seven days. Please save the original packaging when you receive the art. If you choose to return the art, repackage it in its original box and contact us at email@example.com or (844) 210-7722. We will then issue you a prepaid FedEx or UPS shipping label to affix to the box and return. Items must be shipped backed within seven days of receiving the order. 50% of the cost of the return will be deducted from your refund. If you live outside of the United States, please see below for the return procedure. Art that is returned damaged will not be refunded. Photographs and limited edition prints that are returned wrinkled, dented, or smudged due to mishandling will incur a handling fee based on the size of the piece. Outside the United States, How To Return a Purchase? If you are not completely satisfied; you can return your art within seven days. Please save the original packaging when you receive the art. If you choose to return the art, repackage it in its original box and contact us at firstname.lastname@example.org or (844) 210-7722. We will provide you with the return shipping address so that you can ship the artwork with the carrier of your choosing. You are responsible for the cost of return shipping and any customs and brokerage fees charged upon return. Items must be shipped within seven days of receiving the order. Receipt of a Damaged Piece of Art? We package all artwork in custom built art boxes to insure safe delivery, so receiving damaged art is a rare occurrence. If you receive a damaged piece of art, contact us within 24 hours, at email@example.com or (844) 210-7722. Please take a picture as well as save the box and all packaging material; we must have these items in order to process the claim.
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Archival Quality paint must have certain qualities. The first is the paper itself. The paper or canvas must be manufactured using pure alpha cellulose fibre, pure cotton fibre or a combination of the two materials. This will ensure the paper base is pH7 or above or acid free. A paper that contains lignin cannot be acid free as lignin is a naturally occurring acid within plant fibres. It is the lignin content in newsprint paper which causes it to yellow and go brittle over time. Next the paper is coated for preparation of printing. This preparation changes depending on the machine and paper used. The coating is applied to the surface of the paper base to ensure that the ink is absorbed in just the right amount. Once a coating is applied, the pH value (acidity) of the entire paper changes. The only way for this to be addressed is for manufacturers to ensure that the coatings used on their papers are as close to acid neutral as possible and to supply the pH value of the total paper (base and coating) rather than just the base. Then the ink is applied to the Archival paper. In order for a print to be considered An Archival print the inks used are pigment-based instead of dye-based. Finally; to maintain your Archival Print, below is a checklist.: 1. Ensure all the materials used to mount, frame and store finished prints are acid free. 2. Display your own prints out of direct light, in an environment with stable temperature, and humidity levels.
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