Exterior painting with light

ThesisThere are so many different fields of photography in which to specialise nowadays This is why I decided to go into a field that is still relatively unexplored and unexploited and still has a lot of room for research and experimentation and that allows one the opportunity to be creative. My field is night photography or rather nightjpaint-with-light photography. Few people have ever stopped to think or realise how the night affects the everyday settings arround them. Things that are ugly and unappealing in the daylight may in the absence of light become attractive. The original cameramen were limited to existing light only, so the technique is not new, it has merely been rediscovered. It was during the "flashbulb seige" of the 1940's that photographers lost interest in existing light photography. With the advent of special chemicals and films, more and more people began to switch back to the use of natural lighting. The night photographer is almost totally dependent upon existing light (Woolley 1956:22). It is with the use of these natural light long exposures combined with the use of a flash light, or any other form of portable artificial light, that allows the photographer to be as creative as possible, allowing him even to capture the ellusive movement of the stars, causing them to make long streaks across the sky on the final image. This type of photography is created by using a double exposure, one for the sunset and another when it is dark, to allow enough time to paint with light and catch the movement of the stars. With the use of a flash or a strong hunting spotlight the photographer's light sensitive material (i.e.the film) is in a way converted into the artist's canvas because one can literally paint, or create, the desired image using coloured gels to create new colours or to enhance the saturation of the already present colours. The advantage in using a hunting spotlight over a flash is that the beam of the spotlight extends a distance of a few hundred meters so that one can paint the tops of trees and buildings and other inaccessable places. The beam of the spotlight is more easily directed than a flash, and thus the chance of getting a reflective image of the photographer in the photograph, which often happens when painting with flash, is greatly reduced when using a hunting spotlight. One of the greatest advantages to painting with one's own spotlight is that one developes a feel for most of the exposure times. It also means that one does not have to rely on available light sources of unknown intensity like flood or spotlights lighting up a building. One's own light source also means that one can go out of town where there are absolutely no lights on one's subject and still create an amazing shot. I WOUld, in fact, say that this is when one can be most creative, since the exposure can be anywhere between 15 minutes and 8-10 hours, giving one as much time as is needed to create almost anything that the film will permit and that the lights battery can handle. Most of the problems encountered during long exposures are in fact film emulsion orientated and therefore beyond the control to the photographer to a certain degree. Two of the main problems with these films are reciprocity failure and colour shifts, which will be discussed later in this script. These problems differ between negative and trannie film with the negative emulsion film being the more likely of the two to give problems. We as photographers can help the manufacturers by sending them results of our experimentation and research so that they may better understand the limitations of their film emulsions under long exposures. Hopefully they will one day produce a film that will eliminate these problems. Push or pull processing can also be used as an alternative method in dealing with the problems connected to these films This will also be discussed later in this script. I will also run through the list of basic equipment needed for exterior painting-withlight and exactly how everything works together. After that I will discuss six of my images and explain how they were achieved, with all the necessary log book references. I will finally discuss the work of a professional photographer, Obie Oberholser who is a very respected and famous photographer both nationally and internationally. It is Obie who I think initiated the whole exterior painting-with-light field of photography. An exterior photographer's possibilities do not end after sunset. Neither is he confined to the city limits or whereever else there are available light sources. Night time is a time that has been very neglected by photographers. I intend to change this by promoting this field and all its possibilities, since I feel that some interesting and beautiful images can be created in this low-light and no-light time of day

Virtual restoration of the Ghent altarpiece using crack detection and inpainting

In this paper, we present a new method for virtual restoration of digitized paintings, with the special focus on the Ghent Altarpiece (1432), one of Belgium's greatest masterpieces. The goal of the work is to remove cracks from the digitized painting thereby approximating how the painting looked like before ageing for nearly 600 years and aiding art historical and palaeographical analysis. For crack detection, we employ a multiscale morphological approach, which can cope with greatly varying thickness of the cracks as well as with their varying intensities (from dark to the light ones). Due to the content of the painting (with extremely many fine details) and complex type of cracks (including inconsistent whitish clouds around them), the available inpainting methods do not provide satisfactory results on many parts of the painting. We show that patch-based methods outperform pixel-based ones, but leaving still much room for improvements in this application. We propose a new method for candidate patch selection, which can be combined with different patch-based inpainting methods to improve their performance in crack removal. The results demonstrate improved performance, with less artefacts and better preserved fine details

Valomaalaustekniikka muotokuvauksen apukeinona : Muotokuvauksen ja valomaalauksen yhdistäminen

Aiheenani on valomaalaustekniikka muotokuvauksen apukeinona. Pyrin tekemään muotokuvan, johon valomaalauksella saadaan tehtyä graafisia muotoja ja näin yhdistetään maalaaminen ja valokuvaaminen taidemuotoina. Tutkin aihetta, koska yli kymmenvuotisen valokuvausurani aikana törmään usein ongelmaan, että muotokuvaan tarvittaisiin jotain lisää. Näin tapahtuu varsinkin studiossa kuvatessa, taustoja ei koskaan ole tarpeeksi. Tästä syystä keinoja, joilla muotokuvaa saa mielenkiintoisemmaksi, on haettava jatkuvasti. Yhteistyöhön sain neuvonantajaksi maailmallakin tunnetun suomalaisen valomaalaajan Hannu Huhtamon, jonka haastattelujen pohjalta olen saanut ideoita opinnäytetyöni eri vaiheissa. Perehdyn ensiksi lyhyesti valomaalauksen ja muotokuvauksen historiaan ja tekniikkaan. Teen teoksia joissa yhdistän muotokuvauksen ja valomaalauksen. Tällä tavoin pyrin tekemään mainoskuvan tyylisiä teoksia ja selventämään niiden tekemisen tekniikkaa. Toiminnallisena osuutena tein opinnäytetyötä varten viisi muotokuvaa, joissa on yhdistetty sekä valokuvaus- että valomaalaustekniikoita. Kerron, miten tein teokset ja mitä ongelmia teoksia tehdessäni kohtasin. Valomaalaus lähentää muotokuvauksen tyyliä ja tuo maalauselementin valokuvaukseen ja näin yhdistää valokuvausta ja maalaustaidetta. Valomaalauksesta on hyötyä varsinkin mainosvalokuvien elävöittämisessä. Muotokuvauksessa sen käyttöä on mietittävä tarkkaan etukäteen, koska kuvauspaikka, aika ja mahdollinen jälkityöstön tarve on todennäköistä. Riippuu valomaalausmetodista, kuinka paljon yhteistä sillä on maalaustaiteen kanssa. Valomaalauksesta on hyötyä valokuvauksessa monella alueella ja tekniikan opetteleminen olisi hyödyllistä kaikille valokuvaajille.The topic of my thesis is Light painting as a resource in photographing people. My objektive is to create a portrait which has graphical elements, created with light painting. thereby integrating photography to painting and drawing as an art form. I examine this topic, because over the decade of my photography career, I constantly run into a problem that a portrait is in need of something more. Especially when photographing in the studio, there are never enough backgrounds, which means that making photographs more interesting is a never ending task. In my research I have the privilege to have one of the most skilled light painters in Finland, Hannu Huhtamo as an advisor. I refer to his methods and ideas from him in different stages of my thesis. Firstly, I briefly discuss light painting and portraiture history and techniques. I create artworks in which I try to combine portraiture with light painting and create commercial type of photography art works. I also clarify the techniques in making the art works. As a functional part of my thesis, I made five light painting portraits. I explain how I made the art works and which problems I encountered in the process. Light painting brings photography and painting as an art form closer together, and integrates photography and painting. Light painting is useful especially in invigorating advertisement photographs. In portraiture the use of light painting should always be thought through carefully in advance concerning location, time and because the possible need of after work is almost certain. It depends on the method of the light painting technique, how much similarity it has to painting. Light painting has benefits in many areas of photography and should therefore be recommended for all photographers

Creating a Chromesthetic World: Auditory Painting with Light

The aim of this project is to create an interactive space in which the audience can partake in an artistic experience, as well as immerse themselves in the creative process of composing music. This project is important in creating a link between multiple artistic realms, with the goal being to have an installation that can function as both an interactive drawing experience, and for participants to further understand the link between musical keys signatures and their effect on colour interpretations. The scope of the project includes the creation of a circuit that contains a collection of sensors that can be programmed with a range of keys signatures that can correlate with different colours in the colour wheel, thereby delivering an interactive sound art installation. Using light-dependent resistors (LDR’s) set up in a circuit with an Arduino Leonardo, light is detected and sent to Max/MSP; allowing both music and colour to be produced when drawing within the air, directed at the camera. Undertaking this project, has also created a learning curve in how to provide an interactive experience whilst also maintaining social distancing. The aim is that this will be beneficial to installations that may take place in the future.https://remix.berklee.edu/graduate-studies-production-technology/1304/thumbnail.jp

A Quiet Absorption: Paul Fenniak’s Realism

The cool early morning light casts an eerie stillness over the swimming pool in Paul Fenniak’s painting Short Cut (2006). The protagonist, a young woman with mousy brown hair and a sturdy build, carries a satchel and hunches forward midstride along the right edge of the pool. She looks toward the background of the painting, away from the viewer and across the water. Perhaps she is taking a surreptitious detour through this closed and empty space on her way to school. Fenniak skillfully captures the bluish dawn, the sun raking across clean, calm water, the gentle hint of breeze waving the pennants across the width of the pool. The setting appears ordinary in its comforting, suburban familiarity, but Fenniak’s painting depicts an astonishingly haunting and uncannily quiet moment in the midst of an otherwise normal routine. In anticipation of being noticed, the girl poses peculiarly. With her crouched stance in this horizontal expanse of space, where one could not easily hide, the girl attempts to be unseen. Absorbed completely in either a seemingly innocent adolescent transgression or a more furtive escape, she nervously avoids any witnesses and is oblivious to being beheld by the viewer of the painting. This voyeuristic and enigmatic glimpse into a character’s private moment reappears as a common theme in Fenniak’s paintings. His works depict figures engrossed not necessarily by an action, chore, or conversation; rather the individuals all appear somewhat isolated and consistently preoccupied by thought. [excerpt

Studying Form, Color, and Pictorial Composition in the New England Landscape

When I applied for a grant through the Research and Apprenticeship Program (REAP) at the University of New Hampshire (UNH) during the spring of 2016, my intention was to gain more experience in the art of painting outdoors. By looking through the student work of my favorite painters I realized that most of them had spent some concentrated period of time studying landscape painting and producing dozens or even hundreds of small sketches of different scenes and times of day outdoors. I knew that if I was going to advance toward my own artistic goals, I needed to apply myself to those studies as well. First, I wanted to study different effects of light outdoors and learn more about color relations through the constant practice of observation and color mixing. Second, I wanted to learn more about how to express complex forms in a broad and simplified way, an underlying principle of theway nearly all great painters see the world. Third, I wanted to learn more about composing pictures by persistently producing small studies (usually between 8 x 10 inches and 12 x 16 inches) and thinking about the principles of good composition for each one. The complexity of landscape as a subject made it a great source of practice for all three of my goals.The best thing I gained from the summer’s work was actually something I lost. I lost the crippling timidity that often kept me from painting outside.I can deal with the fear of failure that stares back at you when you look at a blank canvas. I can deal with people laughing at my silly painting outfit or coming up and asking questions, with the wind blowing a wet canvas off my easel and into my clothing, with standing in the sun for hours on a hot day wearing long pants and a long-sleeved shirt to shield my Irish skin. All that is part of the fun of landscape painting, and none of it distracts me much anymore. That’s good, because a landscape painter has too much else to think about

New tools for managing daylight exposure of works of art: case study of Hambletonian, Mount Stewart, Northern Ireland

This paper describes a project to reduce the excessive daylight exposure of an oil painting, Hambletonian, Rubbing Down, displayed at Mount Stewart, Northern Ireland. Climate-­based daylight modelling (CBDM) was used to understand the light exposure of Hambletonian and to assess the impact of control measures on the annual light exposure and viewing condition of the painting in the winter months. The computer model was used in conjunction with measured lux data to establish the base case light exposure and the effect of the control measures. Light control was implemented through the use of darker paint finishes on the walls and ceiling, which reduced the amount of reflected light reaching Hambletonian;; and the addition of a mesh screen to the outside of the glazed dome above the painting. These interventions were cost-­effective and straightforward to implement and manage. CBDM suggests the interventions reduced Hambletonian’s annual daylight exposure from 3.5 mlxhr to 0.63 mlxhr

Elections, Wars, and Protests? A Longitudinal Look at Foreign News on Canadian Television

This study reports on the Canadian data from a recent international content analysis of broadcast news in 18 countries. With a mind to Robert A. Hackett’s longitudinal analysis of foreign news on CBC and CTV in 1989, the current study addresses questions of foreign news prominence, geographic distribution, topic coverage, and variation between networks, noting differences and similarities in the content of foreign news in light of shifting cultural, political, and economic environments; news production processes; and communication technologies. This analysis provides an update to Hackett’s seminal work, painting a picture of the Canadian foreign news landscape two decades later

Painting with light-powered bacteria

External control of the swimming speed of `active particles' can be used to self assemble designer structures in situ on the micrometer to millimeter scale. We demonstrate such reconfigurable templated active self assembly in a fluid environment using light powered strains of Escherichia coli. The physics and biology controlling the sharpness and formation speed of patterns is investigated using a bespoke fast-responding strain.Comment: 19 pages, 11 figure

Yang Weizhen (1296-1370) and the Social Art of Painting Inscriptions

The dissertation explores the text-image relationship in late Yuan literati painting and the social dimension of painting inscriptions. Each of the first three chapters is devoted to the discussion of one painting and its inscriptions by the poet-calligrapher Yang Weizhen (1296-1370) and his contemporaries. By tracing the distinct assembling process of each work, the dissertation investigates the social conventions of painting inscriptions. The fourth chapter recounts the history of painting inscriptions from the fourth to the fourteenth century, with an emphasis on the social dimension, in order to place the late-Yuan practice in a historical context. Furthermore, the dissertation addresses the fluidity of meaning in Chinese painting and the role the audience (inscribers) played in the process of meaning-making. By bringing to light the social dimensions of painting inscriptions, this dissertation prompts a reevaluation of the use of inscriptions in the studies of Chinese painting