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Wen. History on the Spring and Autumn Period.
Edit. History on the Spring and Autumn Period.
—Darkroom Operation]—
When Newhall decided to retire, Cork left the University of New Mexico to succeed Beaumont Newhall as superintendent of the George Eastman Building in Rochester, New York.
An old friend of Newhall, Cork began working at Eastman House in 1970, training in Newhall's final year as a director.
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After visiting the Southwest, Newell changed his mind about staying in Rochester after retirement, and at the suggestion of Cork and at the urging of Nancy Newell, he joined the faculty in New Mexico in 1971, where, under a special agreement, Cork was still regarded as a part-time lecturer.
Cork was initially warmly welcomed by the Board of Directors of the Eastman Building, the museum's newly independent Eastman Kodak Company, which is growing rapidly, and the Board of Directors wanted Cork's business and management experience as the family's hardware company in Kentucky.
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However, Cork soon discovered that Kodak still had significant control over the Eastman Building and did not agree with his vision of the museum as a prominent center for fine art photography.
Cork resigned from this position in 1972 and his estate was renamed the International Museum of Photography and Film in the George Eastman Building.
During his tenure, the ** protection process was studied and initiated. After a six-year hiatus, he also revived Image magazine, published by Eastman House.
Cork returned to the University of New Mexico as Head of the Department of Fine Arts until 1979
He was hired as the director of the Department of Photography at the San Francisco Museum of Modern Art.
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In San Francisco, Cork presented a number of innovative programs exploring this new direction that ** was taking, and in 1985 he curated Behind the Eyes: Eight German Artists, the first photography exhibition in the United States by contemporary German artists who had also worked at other **.
In 1983, he had his first solo exhibition of former student Joel-Peter Witkin at a major American museum, and in the same year, Cork also presented Edward Weston's Mexican ** in depth for the first time.
Cork first met Weston in the summer of 1938, when he drove his father's Ford from Lexington, Kentucky, to Carmel, California, in his father's Ford to meet his idol.
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Ten years later, Cork was still studying art in San Miguel de Allende, Mexico, under the influence of Weston as a photographer.
Cork's ** leans towards surrealism; In a 1992 New York Times commentary, he was described as:
A special photographer with sick eyes".
In the 70s of the 20th century, he experimented with "darkroom operation, using "flickering patterns", and in the 80s he returned to straight painting, and he showed an interest in breaking the limits of tradition: "But after finding it, I got tired of looking for strange things. ”
However, his students are a testament to his passion for blurring the lines between photography and the other.
I've been pursuing my mystery," Cork said, adding that he believes that enigma is the essence of art, and his ** has been exhibited internationally, and he has also championed the art of photography in books published in Europe, Central America, Hawaii and the American Southwest.
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He has written texts for catalogues, including ** exhibitions and guest contributors he curated, and edited articles on a variety of topics related to photography as fine art.
His own book of photography, The Secular and the Sacred: Mexico's, was published, and Cork remained at the San Francisco Museum of Modern Art until his retirement to Santa Fe in 1987, where he died on July 11, 2004.
—Color Temperature].
Color temperature is the overall measurement of the color of light, the luminous filament emits this temperature from most light sources in the center of the bulb, the color of the light depends on the temperature of the filament being heated, and the color temperature ranges from low intensity, i.e., in the highest and most intense environments, through red, yellow, white, and blue.
This temperature and the corresponding color difference are measured on the Kelvin scale, which is similar to the Fahrenheit or Celsius scale
But it increased by 273 degrees Celsius in the temperature range.
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On the Kelvin scale, absolute zero is set at 0 K, the freezing point of water is 273 K, the color temperature of the skylight (bright blue sky) is 11000 K, the electronic flash is 6000 K, the daylight is 5000 K, the flash is 4000K, the flood light is 3200 K, the household or tungsten light is 2800 K, and the candle light is 1900 K.
The more intense the light source, the higher the heat, the colder and bluer the color of the light produced by the light source, and the lower the intensity of the light source and the heat generated, the redder the color casting, which is contrary to the concept of common sense, ie.
Hotter objects are redder in color, and cooler objects are bluer.
Because the intensity measured is heat and light, not the object and its color hue.
There are two types of film for all light sources:
Tungsten film 3200k, daylight film 5500k.
Different types of film provide color balance options that match the color of the light to the appropriate range used in the film shot in that type of light, and the use of filters on the camera to adjust and color balance can also be used instead of changing the color temperature of the film for color conversion correction.
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Daylight film is the most widely used film in both indoor and outdoor photography, it is a color-balanced skylight, daylight, and most types of on-camera and off-camera flash units.
On the Kelvin scale, it is balanced for high temperatures and intensity, and when used in high temperatures and lower intensity tungsten light, it produces a blue casting in photographic images.
Tungsten film is used for indoor shooting home or tungsten lamps or floodlights, there are two types: type A and type B.
Type A Balanced 3400K Flood Light, Standard Light, Type B Balanced 3200K Flood Light, Since the tungsten film is balanced with low heat and intensity on the Kelvin scale, when used with daylight and flash devices, it produces a red casting in photographic images.
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Digital cameras use CCD sensors (charge-coupled devices) and therefore do not offer photographers the choice of tungsten or daylight films, they have daylight or tungsten light settings, and digital photographers must manually "white-balance" the camera, or set the camera to check the color projection of the light source, or set the sensor to automatically balance.
This process is known as white balancing because the neutralness of the white is checked in the camera, and if the white of the image is orange or blue, the white of the camera is the wrong balance and must be calibrated to the light color temperature
There will usually be a combination of an indoor tungsten light and an outdoor daylight or photographic flash, and the most abundant light source will be selected for calibration.
The fluorescent tube is an anomaly in the color balance because it does not fit into the red or blue range of the Kelvin temperature scale.
Fluorescent tubes emit a discontinuous spectrum that randomly changes the intensity of the color, and the fluorescent tube is not normalized to a specific color balance or casting, but produces some slightly varying shades of color.
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Optical filters can help correct the green characteristics of fluorescent lamps, and a magenta filter (30 meters) will block the green casting on film or digital sensors.
Filters can also be used to color balance daylight and tungsten with the opposite type of film, in order to correct the red casting performed when using daylight films in tungsten light, a blue filter (80a) will absorb the red light and balance the resulting scene.
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The tungsten film used during the day can be balanced with a yellow filter (85b), which will absorb blue light and maintain a neutral white color in the image.
Images with incorrect color balance can also be corrected by manipulating the color printing process and digital software such as Adobobop, but these changes are often labor-intensive and difficult.
It is not possible to correct the improper color balance in the color slide film after film** and processing, as transparency is the final product, unlike photographic negatives and digital files that are operated in traditional or digital anechoic chambers.
Color and white balance are important when shooting** to accurately reproduce the colors of a particular scene, but they can also be used for creative and artistic purposes.
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When tungsten film is used during the day, the resulting cool blue casting is exploited by fine art and fashion photographers, while the warm interior light produced by tungsten film is often manipulated by photographers capturing architecture or interiors**.
The color projection that appears on inverted standard film and lighting specifications** is not the only creative variation that is being used to manipulate light quality.
Natural daylight changes color as the day progresses, and daylight balance color film is most accurate to use at 10 am and 3 pm, the most neutral time natural daylight and color temperature closest to daylight balance film (noon daytime is balanced to 5000k).
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In the early morning, the color of daylight has a cool plaster and is unsaturated, and in the late afternoon and evening, the daytime is characterized by warm, saturated tones.
—Photographic Color Theory]—
Photographic color theory is based on the specific colors of light in the light and visible spectrum, which combine to form what we call white light.
Colors can be further divided into three elements:
Hue. wavelength of color).
Saturation. intensity of color) and.
Value. lightness or darkness of a color, sometimes referred to as brightness).
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These components make up all photographic light, black and white photography records light only according to value or brightness, and color photography records light according to two color sets, adding the original light and subtracting the original light.
These collections are color combinations recorded on the surface of the human eye and photographic materials, and these two color combinations, when mixed together, make up all the color combinations in photographic imaging.
The color wheel is made up of six colors, red, green, and blue are the direct opposite of cyan, magenta, and yellow, and the primary components of the additive are red, green, and blue (also known as RGB colors).
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When mixed together to form white light, the subtractive primary substances are cyan (blue-green), magenta (purplish-pink), and yellow (also known as CMY primary substances), and when mixed together form black or no light.
The six colors in the photographic process create a color wheel with complementary pairs:
Blue and yellow, green and magenta, and cyan and red.
On the color wheel, a triangle is created by RGB primaries and CMY primaries because they are alternately spaced in the six slots of the color wheel.
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Mixing colors on both sides of that hue produces every color in the wheel, for example, mixing green and blue produces cyan, and these trichromatic pairs are linked together by all the traditional film and digital photography processes.
Each set of three primary colors can make up all six colors, with the additional primary colors used for photographic and imaging films, and the subtracted primary colors used for color printing.
—Summary]—
In 1907, Antoine and Louise reinvented the automatic pigmentation process based on the additive color theory, and they covered a glass plate with potato starch grains, which were sensitive to three layers of color, green and violet analysis.
When light passes through the glass, it is recorded on the emulsion, which is only sensitive to the specific color and corresponding wavelength of the potato starch grains through which the light passes.
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This created a color transparency, but the process was labor-intensive and unstable, and in 1935, the Kodak color process, developed by Eastman Kodak and Leo Podmannes, was invented, and the subtractive color process was introduced into film.
This process, popular in advertisements and portraits by professional photographers, is rarely used by consumers due to the complexity and expense of its technique.
Aesthetic ** graphic history, changed in the late 60s of the 20th century photography with other mediums, such as screen printing, from the 70s of the 20th century to the present, color is more acceptable as a carrier for photographic artists.
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Kodak color film consists of three layers of emulsion on the film, each of which is sensitive to red, green, and blue light, a process that is the origin of all subsequent color films.
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2] The application and status of news photography in newspaper news[J].Xu Ruifeng. Media Forum, 2018 (11).
3] ** News Photography Skills - Let the details of the news ** "tell the story" [J].Huang Youan. Yangtze River Series, 2018(13).
4] **Textual expression of news and photographic stories[J].Wang Yongsheng. Journalism Research Guide, 2018(08).