Tonight’s class started off by demonstrating a camera obscura constructed by taping black tarp over the windows except for a penny-sized hole cut out of a flattened piece of soda can. When we killed the lights, the whole room was turned into a canvas for an upside-down projected image of the scene outside. It was impressive to see how much detail was visible as well as the rich, full color. All this served as an elementary example of the optical principals of reproducing an image.
Then, of course, it was back into the darkroom for more print making. Tonight I took a different path with my test strips; I used multiple strips with a single exposure time on each instead of incremental exposure times along the same strip. This allowed me to have a better idea of how the different exposures would affect the whole image instead of different patches. I think the results were an improvement, and I was able to make three prints after a contact sheet.
There was no particular assignment this week, but as we finished up we were given handouts with additional information about how images are reproduced. Christopher may send us something to work on via email during the week, but otherwise we’re simply to shoot more film :-)
I think I’ll cut up some of my pre-class negatives this week so I can make prints from those images next Monday…
Proving once again that its customer service department listens and acts, Netflix has decided to keep profiles after all. Less than two weeks after pissing off hordes of subscribers, Netflix sent out this glorious message:
Thanks for listening, guys. The goodwill you earn from this is worth more than any perceived technical hassle from keeping profiles in tact.
As if you couldn’t tell, I’m hopped-up on photography these days. I’m also, as you may have noticed, a fan of my locality, Richmond, VA.
It’s truly a shame, then, that it’s taken me this long to highlight the photography of Ansel Olson. With a background in photography and interior design and a practice in the graphic arts, Olson has a clear eye for well-conceived photographs, be they digital or film. From the literal to the abstract and sometimes surreal, there’s a rich variety of work, and plenty of inspiration for a novice photographer like myself.
Okay, there are enough gushing reviews of Pixar’s latest release, Wall-E, that I needn’t muddy the waters with my lesser writing skills. I loved it. Best movie of the year so far in my opinion.
This post, on the other hand, is about the brilliant end credit sequence. Not only do we catch a glimpse, in a combination of stills and light animation, what happens after the conclusion of the feature, but we also see the visual design of the titles transition from cave drawings through hieroglyphs, to impressionism, and even up to 8-bit video game graphics. Pixar outdoes themselves with their films quite often, and the attention to detail – artistic detail, mind you – in an oft skipped part of a movie was a surprise indeed. Give these folks a Best Picture nomination.
