This is RoBERT


And Then The Dogs...

This is my accep­tance speech of the 2016 “Ani­mal Wel­fare Hero” Award at the

Bal­ti­more Humane Soci­ety Black Tie and Tails Gala & Ben­e­fit held on March 16th, 2016…

“Good evening to everyone.

I am so pleased to win the Oscar for Actor of the Year. Receiv­ing this award is such an amaz­ing honor. I dreamt about this moment since I was a child…(ar-ar :-)

The invi­ta­tion said black tie optional, sense of humor required!

Seri­ously, I would like to thank the Bal­ti­more Humane Soci­ety for hon­or­ing me as the 2016 Ani­mal Wel­fare Hero. This recog­ni­tion comes as an unex­pected sur­prise, because there are a lot of peo­ple out there that do so much more than I. Every­thing I’ve done to help the cause I’ve done because I thought it’s just what you’re sup­posed to do. You just jump in.

Although I’ve been around ani­mals my entire life and an ani­mal artist for much of it, I only stum­bled into ani­mal res­cue since mov­ing to Bal­ti­more in 1995.

Grow­ing up in Ver­mont my fam­ily had the req­ui­site happy go lucky coun­try dogs, Col­lies, Golden Retriev­ers, Yel­low Labs and a num­ber of indoor/outdoor cats. They were all loved and well kept.  My aware­ness of ani­mal abuse was minimal.

As a visual artist I’m very aware of my sur­round­ings. In Bal­ti­more I couldn’t help but notice the dogs in my own neigh­bor­hood that were appar­ently being ignored and neglected.

In one block alone I con­fronted the own­ers and res­cued 5 dogs over the course of two years. Each res­cue was slightly dif­fer­ent. For one, I sim­ply knocked on the front door and asked for the dog that was freez­ing to death in the back­yard. They said noth­ing and didn’t bat an eye; the per­son went and got the dog, handed her over and slammed the door. Her name was Silky and she hap­pily jumped into my van.

The most impor­tant res­cue, at least the one dear­est to me, hap­pened about 7 years ago. In my daily rou­tine I noticed a lit­tle brown dog in the bro­ken cement back­yard of a run­down aban­doned row house in the city. He was a dirty, small, very thin Pit­bull, he was not too remark­able except for the heavy motor­cy­cle chain attached to his neck with a tight leather col­lar. After keep­ing an eye on him for a few days, it became clear that he’d been aban­doned, either the owner had lost inter­est and stopped feed­ing him, or he was pos­si­bly on his way to be a bait dog. The fence door was open and he will­ingly came over to me, I removed his col­lar from his raw neck, the ridicu­lous heavy chain fell away. He jumped into my van and off we went.

We really weren’t look­ing for a dog, espe­cially a Pit Bull, but I instantly fell in love with him and I secretly knew we’d keep him despite our house full of cats. We named him Super Lou, he took about a year to recover from his mal­nu­tri­tion and neglect and in the process he changed our per­cep­tion of the breed and he changed our lives.

Since then I have through my art been able to raise money and aware­ness for other ani­mals just like Super Lou allow­ing them to wig­gle their way into our hearts and lives.

So it is with great honor that I accept this award on behalf of my best man Super Lou.”

Paula Ibey
Inside Our Old Baltimore Gallery

Located on the water­front in the heart of his­toric Fell’s Point.

Paula Ibey
Commercial Days

I worked for over 15 years shoot­ing com­mer­cial work for clients rang­ing from indi­vid­ual clients to for­tune 500 com­pa­nies. Some excit­ing work, some flat out bor­ing, it seems like i shot a lit­tle of every­thing. I con­sid­ered myself a trades­man pho­tog­ra­pher and I shot “FILM” using a 4x5 View Cam­era and medium for­mat Has­sel­blads and 35mm Nikons too. I was very good at it but I wasn’t “great”, and I felt like no one really cared who did the work in the end. I was ready to move on.

For­tu­nately I was think­ing ahead, I was always work­ing on the next step, pay­ing atten­tion, keep­ing my eyes peeled! I like to say “one day the stars aligned” and I stum­bled into this new medium merging my photos and dig­i­tal paint­ing. It com­bined all of the skills I had been devel­op­ing all along!

Here’s a few sam­ples from my “bread & but­ter” days:


These were shot for the USPS “Cel­e­brate the Cen­tury” Series (2001):


Com­mer­cial Clients included: United States Postal Ser­vice, Out­side Mag­a­zine, Amer­i­can Heart Asso­ci­a­tion, Wash­ing­ton Post Mag­a­zine, Nabisco Foods, Planters Peanuts, JC Pen­ney, Runner’s World Mag­a­zine, Dis­cov­ery On-Line, Fila Sports­wear, Time-Life Books, Van­ity Fair Mag­a­zine, Forbes Mag­a­zine, Dream­works Pic­tures, HBO, LG Elec­tron­ics, Gate­way Com­put­ers and Amer­ica On-Line.

Paula Ibey
Polaroid Roots

In 1978 while liv­ing in Den­ver I needed a cam­era and so I bought my first SX-70 Polaroid Sonar at Gart Broth­ers Sport­ing Goods. I quickly became entranced by the instant grat­i­fi­ca­tion and started exper­i­ment­ing with manip­u­lat­ing the images as they developed.

Over the years I began hand col­or­ing and paint­ing on the images using per­ma­nent marker pens as well as shoot­ing in the stu­dio with it. I shot thou­sands of images. SX-70 Polaroid art was really my only fine art medium for a good 20 years until about 1998.

I had some com­mer­cial and gallery suc­cess in some shows and with my work being accepted into the Inter­na­tional Polaroid Col­lec­tion, which resulted in a tour­ing show called “Amer­i­can Per­spec­tives” and included the likes of Andy Warhol, David Hock­ney, Chuck Close, and Joyce Ten­neson. But even­tu­ally I became tired of it the SX70 as I felt it was some­what lim­ited and I noticed alot of the new­com­ers to medium were cre­at­ing work which looked too much alike for my taste. Not to men­tion the fact that film was expen­sive and even­tu­ally dis­ap­peared. (the 600 film just ain’t the same!)


So I turned to photo dig­i­tal art com­bin­ing my skills as a pho­tog­ra­pher and artist result­ing in my new works which I find more entic­ing and more fun than ever, and allowed much more cre­ative con­trol and options.

Peo­ple look at my new dig­i­tal work and ask if it is “Polaroid Art”. This is very grat­i­fy­ing to me and makes me smile because Polaroid is in my roots and I’m happy that peo­ple really see the connection.

Today almost 25 years later peo­ple are re-discovering Polaroid SX70as if it is a “new” medium. Some things just never die!

Paula Ibey
Polaroid Art

ARTIST’S NOTE: These were all shot in the stu­dio using slaved soft­boxed strobes fired by bounc­ing the cam­era flash into a card which tripped the strobes…kinda tricky because the SX70 did not have a flash sync and was’nt intended to be used this way. I wasted a lot of film test­ing it out. Even­tu­ally I got a nice effect which played off the creamy soft look of SX70 Time Zero film.

ARTIST’S NOTE: These Polaroids were shot on loca­tion and manip­u­lated on the spot as they devel­oped and before they hard­ened. The SX70 Time Zero film reacted dif­fer­ently depend­ing on the out­door tem­per­a­ture, on hot days the film was almost watery. Col­ors were added with per­ma­nent mark­ers (or not) back at the studio.


ARTIST’S NOTE: These Polaroids were shot indoors using win­dow light and manip­u­lated on the spot as they devel­oped and before they hard­ened. Col­ors were added with per­ma­nent markers.


ARTIST’S NOTE: These Polaroids were shot in the stu­dio using a slaved strobe in a soft­box for an arti­cle in Runner’s World Magazine.

Paula Ibey
My Crew










Paula Ibey
Check Out My Mini Cooper Wrap

Have a look at my Mini Cooper! We had it vinyl wrapped with my images. It’s a real eye catcher and lots of fun to drive!

On top of Federal Hill overlooking the Inner Harbor

On top of Federal Hill overlooking the Inner Harbor

Sue having one last look before the wrap!

Sue having one last look before the wrap!

In the process of applying the vinyl

In the process of applying the vinyl

Summer in the city

Summer in the city

Paula Ibey
Tools & Gearbox

Mac­book Pro 15″ 3.1 GHz Intel Core i7
Apple 30″ Cin­ema HD Dis­play
Apple 23″ Cin­ema HD Dis­play
Mac Mini 2.4 GHz intel Core i5
iMac 20″ Intel iMac 21″ Intel
4x6 Wacom Intu­ous Tablets (2)

Nikon D300
Nikon D200 w/MB200 Grip
Nikon Super Wide Angle AF 12-24mm f/4G ED-IF AF-S DX Zoom
Nikon 18-200mm f/3.5–5.6G ED-IF AF-S DX VR Zoom
Nikon 18-70mm f/3.5–5.6G ED-IF AF-S DX Zoom
Nikkor DX 70-300mm
Leica D-Lux 3
Canon G-1x

Mul­ti­ple Crum­pler Bags

44-inch Epson SureColor P8000 pro­fes­sional wide-format printer

Manny K
Sue Mc

FILM CAMERAS > Nikon F2, Nikon F3, 2-Nikon D90s, Has­sel­blad 500ELM, Has­sle­blad 500ELX, Calumet 45NXII View Cam­era, Schnei­der 210mm, 150mm, 90mm, Leica IIIf, Leica IIIg, 2-Polaroid SX-70Sonar, Miranda Sen­so­mat (my first 35mm), Kodak 110 Insta­matic, Kodak 126 Instamatic

PHOTO LIGHTING > Speedotron Black Line w/6 heads, 4-White Light­ning 1800 Monoheads

DIGITAL CAMERAS > Apple Quick­take 100, Apple Quick­take 200, Nikon Coolpix 900, Nikon Coolpix 950, Nikon D100, Nikon D70, Nikon D40x, Fuji 680 Leaf­s­can Back (Studio)

APPLE / MACS > Mac­in­tosh SE, Mac­in­tosh Quadra, Umax 800 (Mac OS), Apple Pow­erPC 601, Apple Power­book Wall­street, Apple B&W 350, Apple B&W 400, Apple G4 800 Quick­sil­ver, Apple G4 Dual 1.42, Apple G4 iMac, Apple Alu­minum Power­book G4, G4 Mac­book, Mac­book Pro 17in Intel

(Mac Bigot since 1992)

Paula Ibey
Writings and Rants

“Beyond Para­noia and Sour Grapes”
Debunk­ing the stigma of dig­i­tal art in the fine art world

An Essay by Robert McClin­tock, photo-digital artist

Pre­sented Sep­tem­ber 18, 2005 at The Soci­ety for Imag­ing Sci­ence and Tech­nol­ogy — NIP21: Inter­na­tional Con­fer­ence on Dig­i­tal Print­ing Tech­nolo­gies in  Bal­ti­more, MD;

... like the saw is to the carpenter, you still have to know how to use it if you’re going to build a house...

As a full­time pro­fes­sional pho­tog­ra­pher and artist over the past 25 years I have come to real­ize that being on the front edge of any medium can be dan­ger­ous. It seems that the art world has to give its golden nod of approval before the ball can drop and you can be rewarded with a kind review and maybe even a show. As some­one who has been con­sis­tently in the van­guard of exper­i­ment­ing with new medi­ums, crit­i­cal acclaim has always been hard fought, but the per­sonal sat­is­fac­tion of cre­at­ing some­thing new and dif­fer­ent is very reward­ing… “Yeah right”.

My whole life as an artist has been some­what defi­ant to the tra­di­tional paths of the art world. I’m a col­lege dropout and 100% self-taught artist pho­tog­ra­pher. I’m def­i­nitely con­sid­ered an out­sider in the fine art world because I decided long ago that I would actu­ally make a good liv­ing as an artist, which to me includes hav­ing a nice house, a nice car, eat­ing well, hav­ing cable and HDTV.

As a com­mer­cial pho­tog­ra­pher I treated every­one as a client, and if I was to pick up my cam­era it was because I was being paid. I didn’t bring my cam­era to wed­dings as a favor. Although I was very good pho­tog­ra­pher who would always come home with what the client wanted, I never thought I was truly out­stand­ing. I started to con­sider myself a “mas­ter plumber of pho­tog­ra­phy.” I could shoot any­thing, any­where. I’d work all day on a great cover of a bath­room caulk cat­a­log with edgy light­ing, all in focus or inten­tion­ally out of focus, but I knew 5 other guys that could have done it. I became more and more frus­trated with my com­mer­cial future and finally after about 15 years I burned out. Although I could of course still be bribed into a job here and there if I was late on the cable bill.

At that time in 1996 the dig­i­tal pho­tog­ra­phy world was mak­ing itself known. I bought an Apple Quick­take 100 and started shoot­ing and play­ing around with the then arous­ing 320x240 pix­els at 72 dpi. I had also begun free­lanc­ing at a full dig­i­tal stu­dio here in Bal­ti­more shoot­ing cat­a­logs and com­mer­cial adver­tise­ments. There were two Mac­in­tosh work­sta­tions, and we were shoot­ing with Fuji GX680s with triple pass color wheels and Leaf­s­can backs, and there were two Pho­to­shop experts doing full ser­vice pre-press work, out­putting proofs on a Fuji Pic­trog­ra­phy. It was def­i­nitely cut­ting edge tech­nol­ogy and Polaroid test shots and color trans­parency film were on the way out. Things were chang­ing in the old photo world and with Pho­to­shop you really didn’t have to be that great a tech­ni­cian any­more. Pho­to­shop trick­ery was becom­ing the norm. The days of one great shot on a 4x5 view cam­era were gone and $500 an hour Sci­tex fixes were def­i­nitely gone.

For many years I had been paint­ing on and scratch­ing my photo prints and was hav­ing great fun. In 1978 I bought a new SX70 Polaroid Cam­era. Even­tu­ally I became some­what known for my SX70 Polaroid art, get­ting accepted into the Inter­na­tional Polaroid Col­lec­tion in 1991, and then being selected from the col­lec­tion for the Amer­i­can Per­spec­tives Exhibit with other artists like Andy Warhol, Joyce Ten­nyson and Chuck Close. Nev­er­the­less, manip­u­lated Polaroid pho­tos proved to be a some­what mis­un­der­stood medium by the purists, I felt there was just so much I could do with it, and I began feel­ing like my work looked like every­one else’s. So the process had begun for me to find a new medium. I was get­ting hands on train­ing at the dig­i­tal stu­dio, shoot­ing and learn­ing color cor­rec­tion and help­ing to sil­hou­ette the hun­dreds of cat­a­log shots of paint cans and bricks pavers. I started to think that I could prob­a­bly cre­ate some orig­i­nal art using this new­found medium. I acquired Adobe Pho­to­shop v3.5 (legally, with a bun­dled scan­ner pur­chase!) and loaded it on my scream­ing Mac­in­tosh Quadra 610 with 32 Megs of ram, one of the fastest machines in the Apple lineup.

I knew Pho­to­shop as a image edit­ing tool was unsur­passed, and I played around with the stock fil­ters effects like water­color, palette knife, paint daubs and sat­u­ra­tion slid­ers and got some whacked out look­ing stuff that was def­i­nitely intrigu­ing, but once again I got the feel­ing that every­one could do this to a photo. The desk­top pub­lish­ing phe­nom­ena had fos­tered the idea of “cre­ate pro­fes­sional look­ing brochures in min­utes,” and now Pho­to­shop and Frac­tal Painter was head­ing out to con­quer the art world with ads say­ing “Sim­u­late painting…transform your pho­tos with real­is­tic paint­brush effects with dif­fer­ent can­vas tex­tures.” Yet I pushed ahead and bought one the early Wacom tablets and started to make broad brush strokes and blend col­ors the way I wanted them to be, which was some­thing the com­puter could never do.

Hon­estly, I’m not that big of a dumb-head to think no one but ME can do this because I’m the only artist capa­ble of “dig­i­tal great­ness.” I’m really try­ing to get beyond my “para­noia and sour grapes” about this being legit­i­mate art. The thing is that find­ing unique­ness in what you do should be the high­est goal. If we all cre­ate art the exact same way then there’s a prob­lem, mak­ing art should not be a turnkey fran­chise oppor­tu­nity that always works. Con­versely, I really encour­age every­one that if it makes them happy to take pic­tures of their kid’s birth­day party and then run it through the com­puter and whack out the faces, and they’re hav­ing fun doing it, then they should do it. No doubt there can great per­sonal sat­is­fac­tion in doing that. I just want peo­ple today to under­stand the dif­fer­ence between the fren­zied point and click dig­i­tal world and what I con­sis­tently do cre­at­ing an inten­tional thought­ful piece of art.

No one ever asks the car­pen­ter what brand saw he used to build the house. For the writer it makes no sense to ask if she used Word Per­fect or Microsoft Word to write her book. The tools don’t cre­ate, peo­ple cre­ate. It’s inter­est­ing in my expe­ri­ence when peo­ple view my art and say “Oh, its Pho­to­shop…” My ears get hot, because I think they think they know exactly how it’s done because they have a dig­i­tal cam­era and Paint Shop Pro. And I think they think they sud­denly grasp my whole life lead­ing to this moment in one fell swoop and now they “get it”. Par­ents for cen­turies have nudged their child while look­ing at art and say, “you could do this.” Whether or not the kid ever picks up a pen­cil or paint­brush remains to be seen, some do, most don’t. But they do go home and click on Paint Shop Pro before soc­cer prac­tice and make up some­thing in min­utes and bang it out on their lit­tle Epson, and that’s the way it is now. Whether it’s fine art or music. Even I sit down to Apple’s new Garage Band and lay down a groove that makes me think I should send this to Sting and let him know that I got it too. I some­times suf­fer from the syn­drome of “the world has waited long enough, when is Amer­i­can Idol com­ing to Baltimore?” 

Peo­ple often come to me and ask if I can make a series for them like an Andy Warhol with the dif­fer­ent color back­grounds and hues of the same image repeated. I, of course, say “No, that’s what Andy Warhol did; it’s very cool but that’s not what I do.” Go to Google and type in “Andy Warhol Effect,” you’ll find at least 150 hits and 20 web­sites telling you how to do it or some­one that’ll do it for you using image adjust­ments, thresh­old, then sat­u­ra­tion and hue slid­ers. There, the secret is out; that’s not how Warhol did it, but close enough for most people.

Writ­ing this paper has been very dif­fi­cult for me in a num­ber of ways. First, I’m a huge pro­cras­ti­na­tor, and I’ve never been asked to write a paper like this. Sec­ond, writ­ing is a lot harder than it looks. My writ­ings are usu­ally on-the-fly emails and angry “I want my money back” let­ters to eBay sell­ers. And third, the sub­ject mat­ter directly chal­lenges me. While I love what I do, receive tons of pos­i­tive feed­back and have my new Sony HDTV as a result of my art busi­ness, I still fall prey to pot­shots from peo­ple who ques­tion the valid­ity of “dig­i­tal art.” But some­thing inter­est­ing hap­pened through writ­ing this paper that’s mov­ing me beyond para­noia and sour grapes. I’m real­iz­ing that I really do not need not to be ashamed of this new­found medium; I am, in fact, very proud of my “prod­uct,” and the pub­lic has responded to me in a very pos­i­tive way. I’ve decided why should try to hide the fact that my work is dig­i­tal, and I’ve sud­denly found myself say­ing “Yes, my art is 100% dig­i­tal, start­ing from a dig­i­tal pho­to­graph and made on a Mac­in­tosh,” but I always add that it’s not com­puter gen­er­ated. I use the a hand held dig­i­tal paint­brush to craft and work the image, and the most impor­tant tool of all are my eyes and my life expe­ri­ences lead­ing up to the choices I make on the screen. And I now can also add that for the last two years I have been one of the top 30 final­ists in the Mac­world Dig­i­tal Art Con­test, which is an inter­na­tional com­pe­ti­tion with over 500 entrants. 

As I researched the stigma of dig­i­tal art on the Inter­net, I came to find out that this topic is widely debated, and I found other artists who are also out to defend the medium. The stigma attached to the medium arises from the belief that many peo­ple think any­one can do it. In my research, one author asks if the great mas­ters like Da Vinci would be work­ing in this same man­ner today. You know Andy Warhol would have assem­bled a team of super cool “art work­ers,” and he’d be milk­ing his Macs for all they’re worth. Per­haps if he were around today, he would be a great pos­i­tive force in help­ing to legit­imize this new medium. 

All this writ­ing has lead me to the ques­tion, “So why does Robert McClin­tock use this medium?” It all leads back to my early days as a boy pho­tog­ra­pher. I think I was first attracted to the speed at which i could cap­ture a moment or a scene. Then there was the excite­ment of hav­ing the film devel­oped and the mys­tery of wait­ing a week and then look­ing at the pic­tures while still stand­ing in the store. I nat­u­rally built a lit­tle B&W dark­room and the excite­ment was taken to another level, one of con­trol and more inten­tional vision. The next step was mak­ing big prints and see­ing the work become sub­stan­tial. I remem­ber the adren­a­lin I felt look­ing at the prints while they were still hang­ing to dry. I then stum­bled into the instant Polaroid realm and became totally immersed in the SX70 process, first tak­ing the pic­ture, then watch­ing it develop before my eyes and then scratch­ing and push­ing the hard­en­ing emul­sion. Adding color and enlarg­ing the images fol­lowed. Then dig­i­tal hap­pened, and I just jumped in, there was no big ques­tion of should I or shouldn’t. The speed of the medium really did the trick for me. So I guess ulti­mately, my impa­tience led me this way, but the actual process itself is what con­tin­ues to moti­vate me. It pro­vides me with a high degree of speed and flex­i­bil­ity to accom­plish my evolv­ing vision. So more time is avail­able for me to check out alter­na­tive pos­si­bil­i­ties and to cre­ate spin offs or deriv­a­tives of the original.

I’m truly flat­tered when peo­ple see the con­nec­tion between my old Polaroids and my new dig­i­tal work. I’m also able to see my con­sis­tant style of cap­tur­ing a scene on cam­era, which helps me to real­ize that I have always been on the right track, and there is a dis­tinct con­nec­tion to what I’m doing now and my his­tory as an artist and pho­tog­ra­pher. I tend to be very pro­lific in cre­at­ing new work. My works are cur­rently based on the famil­iar­ity of local cityscapes, and the unique per­son­al­i­ties of cats and dogs. Lately in my work, I’m try­ing much harder not to over shoot a scene. Just because I can take 500 dig­i­tal pic­tures doesn’t mean I should. Believe me, 500 bad pic­tures are still 500 bad pic­tures. Admit­tedly, I am a “more is bet­ter guy,” and I love the fact that I can shoot a lot of pic­tures for cheap, but then I have to edit them and store them on hard dri­ves and DVDs, so there is a cost one way or the other.

In tak­ing a hard look at debunk­ing the stigma of dig­i­tal art, I think I’ve come to real­ize that it really shouldn’t mat­ter how a pic­ture is made. Even as a com­mer­cial pho­tog­ra­pher, I always said, “If it looks good, then it is good.” It made lit­tle dif­fer­ence in the end if I used my Nikon or my Has­sel­blad, and only the techies would ever ask what f/stop I used. But it does mat­ter to some peo­ple; and maybe it will ulti­mately help them to bet­ter under­stand the cre­ative process and to appre­ci­ate the skill and thought­ful­ness required to inten­tion­ally use dig­i­tal processes to cre­ate art. Dig­i­tal art is here to stay, and presents an excit­ing “new” medium that pro­vides tremen­dous flex­i­bil­ity and possibility.

As dig­i­tal imag­ing tech­nol­ogy rock­ets ahead, it’s impos­si­ble to ask the indus­try to only make them­selves avail­able to the pro­fes­sional com­mu­nity. The appeal to the mass mar­ket is inevitable and, in fact, vital. I guess, as with all things new, it will take time for the gen­eral pub­lic to under­stand and appre­ci­ate these new “tools” as tools, not as tech­niques or styles in themselves. 

Seems we’re all look­ing for ways to save time so we can do other more impor­tant stuff, but mak­ing art is impor­tant stuff. Art has always influ­enced cul­ture, and the dig­i­tal tech­nol­ogy of cre­at­ing and repro­duc­ing it is sim­ply the only way I see for myself to expand fur­ther into the future. I’m over­com­ing the stigma through pro­duc­ing strong works of art that peo­ple eas­ily relate to, so the medium really doesn’t mat­ter, and we all know that pio­neers are never val­ued in the begin­ning. Dig­i­tal tech­nol­ogy has pro­vided me with the level of con­trol and flex­i­bil­ity to cre­ate unique new works, and I’m stay­ing with it for a while until some­thing bet­ter comes along and I jump on that bandwagon.

So, like the saw is to the car­pen­ter, you still have to know how to use it if you’re going to build a house.

All rights reserved
Copy­right Robert McClin­tock
p. 69–71; ISBN / ISSN: 0–89208-257–7

Paula Ibey