Color temperature is a characteristic of visible light that has important applications in photography, videography, publishing and other fields. The color temperature of a light source is determined by comparing its chromaticity with a theoretical, heated black-body radiator. The temperature (in kelvin) at which the heated black-body radiator matches the color of the light source is that source's color temperature; for a black body source, it is directly related to Planck's law.
The kelvin (symbol: K) is a unit increment of temperature
The kelvin is often used in the measure of the color temperature of light sources. Color temperature is based upon the principle that a black body radiator emits light whose color depends on the temperature of the radiator. Black bodies with temperatures below about 4000 K appear reddish whereas those above about 7500 K appear bluish. Color temperature is important in the fields of image projection and photography where a color temperature of approximately 5500 K is required to match “daylight” film emulsions. In astronomy, the stellar classification of stars and their place on the Hertzsprung-Russell diagram are based, in part, upon their surface temperature. The Sun for instance, has an effective photosphere temperature of 5778 K
Daylight - 5000 K to 7,000
Home light bulbs (tungsten) 2700 K
Fluorescent tubes 3500 K
Saturday, 19 January 2008
Sunday, 13 January 2008
Thursday, 10 January 2008
Exploration of .120 film and 35m
My first time using 120 film and 35ml on HP5 and Fuji Pro 4001SO
A 6x7 negative on HP5 Black and White. I had difficulty in loading the negative into the spindle which resulted in a tear. Once put in the spindle one should add 300 developer and 300 of water at 20C if possible. Because it is HP5 and the temperature was at 22 degrees one should develop it for 12 and a half minutes aggitating it every minute for 10 seconds to make the developer and the water mix together. As the developer sinks to the bottom when it is in the minute of rest.
Because it is 120 and it is much bigger than 35m one should do it for 2 to 3 minutes longer. the higher the ISO, the faster the developing time but the slower the ISO the more time is needed for the developing.
Once after the 12.5 minutes one should pour out the developer and rinse it out with water twice in order to wash out the developer completely, making sure that the water comes up to the top each time. Then one should put 600m of fix agitating this every 10 seconds of every minute. 6 minutes is always the same for 120 or 35m
After this, one puts it under running water for 20 minutes in order to wash out any impurities.
After this, one should put in the wetting agent which helps to remove the water and bubbles and streak marks.
Then one should put it in the drier for 20 minutes till it is dry and not open the door until it is dry as this would suck in dust and would stick to the film immediately
Here is an example of a C41 colour negative of Fuji Pro 400 which was processed at Dragons for 2.99
As it is a colour negative, the colours are less saturated as it is easier to produce a correct image which is properly exposed than on E6 which is not as tolerant and is more saturated.
A 6x7 negative on HP5 Black and White. I had difficulty in loading the negative into the spindle which resulted in a tear. Once put in the spindle one should add 300 developer and 300 of water at 20C if possible. Because it is HP5 and the temperature was at 22 degrees one should develop it for 12 and a half minutes aggitating it every minute for 10 seconds to make the developer and the water mix together. As the developer sinks to the bottom when it is in the minute of rest.
Because it is 120 and it is much bigger than 35m one should do it for 2 to 3 minutes longer. the higher the ISO, the faster the developing time but the slower the ISO the more time is needed for the developing.
Once after the 12.5 minutes one should pour out the developer and rinse it out with water twice in order to wash out the developer completely, making sure that the water comes up to the top each time. Then one should put 600m of fix agitating this every 10 seconds of every minute. 6 minutes is always the same for 120 or 35m
After this, one puts it under running water for 20 minutes in order to wash out any impurities.
After this, one should put in the wetting agent which helps to remove the water and bubbles and streak marks.
Then one should put it in the drier for 20 minutes till it is dry and not open the door until it is dry as this would suck in dust and would stick to the film immediately
Here is an example of a C41 colour negative of Fuji Pro 400 which was processed at Dragons for 2.99
As it is a colour negative, the colours are less saturated as it is easier to produce a correct image which is properly exposed than on E6 which is not as tolerant and is more saturated.
This is an example of a cross process E6 film from 120 Fuji Velvia ISO 50. Due to the low ISO this film is extremely slow but produces very high quality images with no ISO grains to get in the way for the image is amazingly sharp and extremely saturated in its co lours.
For this image I put the camera on mirror lock due to the long exposure as the mirror plate would not judger the camera when the shutter is opened as the mirror plate is already up. Putting the camera on bulb setting and leaving it for 40 seconds on aperture 8 whilst firing the flash gun around the tree to create highlights and back lights for the tree
These photographs were shot on a Velvia ISO 50 on 35 ml and 120 film Fuji FP 100 C colour polaroid for RZ67
Tuesday, 8 January 2008
WOMEN ARE FROM VENUS
WOMEN ARE FROM VENUS
(Leeds Art Gallery)
The purpose of the exhibition is to explore many different depictions of women which reveal their role in society as viewed by different people. The exhibition includes many painted portraits and is constructed to include sculptures, collages and photographs all depicting perceived female attributes. The theme of this exhibition can be subdivided into four categories – “the Masquerade”, “Being An Artist” and “Knowledge and Knowing”.
One of the most interesting features of the exhibition is a photograph by Nicky Bird, an artist born in 1960. The title of this work is “Dressed to Paint”. This is a montage photo encapsulating the mundane with iconic imagery in a surreal manner – e.g. the print photograph of Andy Warhol’s Marilyn Monroe is included. It is very difficult to understand the meaning of this image as it is encrypted.
Many of the women shown in the exhibition photographs are dressed as clowns.
Nicky Bird’s work consists of investigations into the hidden histories of specific sites that cause their resonance. Artifacts found in archives and collections have provided information about those sites and interviews with people connected with the sites have added even more.
(A project Nicky Bird is working on now is called “Beneath the Surface” and the subjects of the photographs for this are miners and brickworkers associated with the East Lothian Industrial Museum).
Also in the “Women are from Venus” exhibition, there are a collection of photographs by the model from Belarus, Elle Muliarchek.
(Leeds Art Gallery)
The purpose of the exhibition is to explore many different depictions of women which reveal their role in society as viewed by different people. The exhibition includes many painted portraits and is constructed to include sculptures, collages and photographs all depicting perceived female attributes. The theme of this exhibition can be subdivided into four categories – “the Masquerade”, “Being An Artist” and “Knowledge and Knowing”.
One of the most interesting features of the exhibition is a photograph by Nicky Bird, an artist born in 1960. The title of this work is “Dressed to Paint”. This is a montage photo encapsulating the mundane with iconic imagery in a surreal manner – e.g. the print photograph of Andy Warhol’s Marilyn Monroe is included. It is very difficult to understand the meaning of this image as it is encrypted.
Many of the women shown in the exhibition photographs are dressed as clowns.
Nicky Bird’s work consists of investigations into the hidden histories of specific sites that cause their resonance. Artifacts found in archives and collections have provided information about those sites and interviews with people connected with the sites have added even more.
(A project Nicky Bird is working on now is called “Beneath the Surface” and the subjects of the photographs for this are miners and brickworkers associated with the East Lothian Industrial Museum).
Also in the “Women are from Venus” exhibition, there are a collection of photographs by the model from Belarus, Elle Muliarchek.
In digital format, her photographs depict gluttony – one of the seven deadly sins listed in the Bible. The act of biting into a donut shown in one of her photographs is reminiscent of Eve eating the apple – forbidden fruit of the tree of life. The forms and textures of the photographs are smooth and high contrast is used to emphasize the saturation of the colours. The iconography of some of these photographs uses turquoise, pinks and reds to connote femininity. The light source in the photograph of the woman eating the donuts is coming directly from above symbolizing divine light shed from the heavens. The positioning of the camera helps to impose power as the audience seems to be looking over the donut- eating subject from a superior vantage point. The overall effect indicates the viewer’s superiority over the degradation of the gluttonous subject.
THE OPEN EYE GALLERY
THE OPEN EYE GALLERY” was opened in 1977 in Liverpool. It was one of the first photography galleries to open in the UK. Funding came from charitable organizations including the Arts Council of England and Merseyside Arts. Exhibitions at “The Open Eye” include the work of regional, national and international photographers. The Gallery particularly encourages educational skills. The mission statement expresses their aim to “make people aware of the many positive ways in which film, photography, video and sound recording can be used in social, cultural and educative context.” The Gallery published its own magazine – “Open Eye Magazine” from January 1979 to December 1981.
Recent exhibitions organized by “Open Eye” have been held on the waterfront.“TheWater’s Edge” was an exhibition of photographs of many different women working on the Liverpool waterfront in many different occupations – dockers, port police, sex workers, painters, crane operators, pub landladies, hostesses, cooks and social workers. This exhibition was organized by writer and researcher Joanne Lacey who was inspired by talks with her grandmother who reminisced about her time working as a ship’s cleaner in the 1950’s
The most recent exhibition was called “Bound” and the subject matter for this was the story of slavery – from the slave trade to modern day bondage. In my opinion, the most moving images from the “Bound” exhibition were a series of documentary photographs of Nazi work camps taken by the Dutch artist Martin Effert whilst traveling from Amsterdam through Germany into Poland. He explored the camps which had been established during the genocide of World War II, 1939 – 1945. His work shows how nature has encroached on the remains of the horrific camps so that they are now hardly visible to the naked eye. They have reverted back to a pure natural state.
The documentary photographs of Martin Effert are typical of his house style as he always favours showing pieces of land which are largely occupied by vegetation. Even when he shows urban landscapes in his photographs these are ones chosen because they are in the process of returning back to their natural state.
For these documentary photographs, he used large format cameras and a wide angle lens to encapsulate a large panoramic view. In one of the photographs he altered the saturation levels so it appears to be a black and white photograph but if the viewer looks closely he will see it is not completely black and white.
Bibliography
“Open Eye” website
“Open Eye” curator
www.stills.org/residents/nickybird
http://www.martineffert.nl/
http://boundexhibition.com/artists/martin-effert
Recent exhibitions organized by “Open Eye” have been held on the waterfront.“TheWater’s Edge” was an exhibition of photographs of many different women working on the Liverpool waterfront in many different occupations – dockers, port police, sex workers, painters, crane operators, pub landladies, hostesses, cooks and social workers. This exhibition was organized by writer and researcher Joanne Lacey who was inspired by talks with her grandmother who reminisced about her time working as a ship’s cleaner in the 1950’s
The most recent exhibition was called “Bound” and the subject matter for this was the story of slavery – from the slave trade to modern day bondage. In my opinion, the most moving images from the “Bound” exhibition were a series of documentary photographs of Nazi work camps taken by the Dutch artist Martin Effert whilst traveling from Amsterdam through Germany into Poland. He explored the camps which had been established during the genocide of World War II, 1939 – 1945. His work shows how nature has encroached on the remains of the horrific camps so that they are now hardly visible to the naked eye. They have reverted back to a pure natural state.
The documentary photographs of Martin Effert are typical of his house style as he always favours showing pieces of land which are largely occupied by vegetation. Even when he shows urban landscapes in his photographs these are ones chosen because they are in the process of returning back to their natural state.
For these documentary photographs, he used large format cameras and a wide angle lens to encapsulate a large panoramic view. In one of the photographs he altered the saturation levels so it appears to be a black and white photograph but if the viewer looks closely he will see it is not completely black and white.
Bibliography
“Open Eye” website
“Open Eye” curator
www.stills.org/residents/nickybird
http://www.martineffert.nl/
http://boundexhibition.com/artists/martin-effert
Flim iso 200
f3.5
28mm
f3.5
(1)(2)
City Life
A collection of photography portraying the mundane city life and there city dweller's in high contrast shoots give the the feel of dominant of the environment and the unnatural surrounding
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