Friday, November 21, 2008
Wednesday, August 13, 2008
Sunday, April 27, 2008
Saturday, April 26, 2008
Learn the steps of taking a body of work through the process of book publication.
The complex world of book publishing is demystified in this one-week workshop, taking students through the intricate process of putting a book together and getting it ready for publishing. The course includes an introduction to the photographic book market and the publishing process. The information gained in the workshop helps participants position their books, develop a book and publishing concept, sequence images, design cover and text pages and make decisions on size, page count, paper and printing specifications. During the week the class explores book ideas, the importance of research, how to edit and sequence their work, as well as prepare a business and marketing plan for a book project.
Joyce provides students with insights into how to exhibit their work, as well as how to promote and publicize book projects. She explores ways of finding an agent, publisher, packager, designer and printer. The course covers contracts, royalties, financing and self-publishing. The class explores theme books, book series, monographs, how-to books and books on technical subjects, and discusses the importance of written text within the photo book, dealing with authors and the collaborative process.
Monday, April 14, 2008
Scientific Words about Scientific Photography
I must have tried explaining exposure 39 times. So here's a summary, specifically for scientific pictures typical for our work:
First, the punch lines:
1. "Setting exposure" controls how much light reaches the film.
2. The amount of light reaching the film determines how the picture will look.
3. We use the light meter to fit the exposure onto what the film can handle.
Don't forget to think!
Human vision is primarily perceptive. The camera has no brain. Seminar slides are sometimes quite humorous.
Only if you want an artsy effect should you show the thing of interest off center. The slide's owner will see the subject as the most important thing in the world, while the rest of us probably just see a blob in the corner.
The scientist/photographer may become extremely excited by the content of a photo, but it will look insignificant until it fills almost the entire frame of film. For example, a slide showing a tiny crystal in the middle may be extremely exiting to its owner, but will look like a dirty slide to the rest of us. Even worse is an empty slide with a tiny crystal in the corner. Put it near the middle.
Also, no matter how well you understand what's in the picture, there have to be enough visual cues in the picture to communicate what the picture shows.
A picture of a stick figure representation of a molecule will look like a bunch of colored lines on black paper to the rest of us; only the slide's mother can follow the chain.
Show only a minimum of atoms, with plenty of depth cueing, and try not to overlap the atoms of greatest interest.
A picture of one's spouse standing in front of a monument will look to the rest of us like a picture of the monument with 500 visitors in front.
Show the monument, or show the spouse, but don't show both unless they are the same size (by standing far away).
When taking pictures, think what the viewer of the picture will see, not what you think you see before taking the picture.
And don't get emotional.
Film Speed
I'm hopelessly unqualified to type this section, and it's at best only approximately correct.
The definition of film speed looks something like (I hope it's 0.6):
1
ISO film speed = ________________________________________________________ light energy required to produce 0.6 O.D. above base+fog
in units of ergs/square cm of film surface
Optical Density = what you think it means, except measured with a tungsten light bulb; no monochrometer. Low optical density means that you can see through it.
Film Characteristic Curves
| | | more optical density for negative film | |
| More light results in | | | |
| | | less optical density for positive (slide) film |
The published curves are in units of O.D. versus base 10 log(light energy), but it is most convenient to think of the curves in units of "stops" relative to "correct exposure" (equivalent to base 2 log of exposure energy). Ansel Adams shows these curves in units of "zones", but it's the same idea. What the exposure setting does to the film can easily be seen on these curves (I think so, anyway).
Definition of "correct" exposure
A "correct" exposure of an 18% reflective gray card results in 0.6 O.D. for the gray card. Other things may have more or less density.
The film manufacturers have arranged things so that a "correct" exposure of a thing (0.6 O.D.) gives the best rendition of detail In That Thing. The thing of interest is probably not a gray card, so the light meter can only tell you the resulting optical density relative to the standard 18% reflective gray card.
The stupid pH meter analogy
The pH meter : 1. Tells you the pH . It does not tell you if the pH is "correct".
2. Is calibrated to measure pH relative to some standard solutions, assumed to be "correct".
The light meter: 1. Looks at the metering region. This is the 12mm black circle in many Nikon viewfinders.
2. Averages over everything in the metering region.
3. Is calibrated to give a "correct" exposure (0.6O.D.), but only when the metering region is completely filled by an 18% reflective gray card.
4. Forcing everything to be "correctly" exposed is like making all buffers at pH 7.
The gray card method of setting exposures
0. This only works for reflected light: The camera and the light source go on the same side of the thing to be photographed. In other words, use a copy stand.
The result of this method is to set the exposure on an absolute scale, with the standard gray card mapped onto the standard optical density.
1. Get everything set up to take the picture.
2. Put a Kodak 18% reflective gray card in the same light as the thing to be photographed.
On a copy stand, this means underneath the glass. Yes the glass makes a little difference.
3. When the gray card completely fills the light meter, set the shutter speed and aperture to get a "correct" exposure. Shutter speeds are usually in discrete steps (1sec, 1/2 sec, 1/4 sec, etc.), but the aperture can be set inbetween the marked settings.
The optimum aperture for an f/2.8 lens is near f/8 (I'm assuming Nikon). Set the aperture at f/8, adjust the shutter to get close to a "correct" exposure, then fine tune with the aperture.
Color slide film is sensitive to changes smaller than 1/3 stop.
4. Without changing the camera's exposure settings, take away the gray card, and take the picture. The light meter will then show a "correct" exposure only if you are taking a picture of an 18% reflective thing.
Examples, described for color slide film
1. A colored drawing on a white paper, illumination from above. The thing of interest is the drawing.
The camera and drawing are set up, focused, etc. The exposure is set on an 18% reflective gray card. The reflectivities of the drawing and the paper then distribute themselves relative to the gray card: The paper is so bright that it saturates the film and appears white. Black ink does not register on the film and appears black. Bright colors look bright, dark colors look dark. This only works when non-black colors are very approximately 18% reflective.
2. A white paper, illumination from above. The thing of interest is the texture of the paper.
The gray card method fails completely. Fill the light meter with the paper, set a "correct" exposure on the paper. This will place the optical density at the optimum for the film. The resulting slide looks like 18% gray, but the texture and brightness of the paper can be reconstructed in a (custom) print from the slide.
3. A black cat in a closed coal bin at night with no moon, heavy cloud cover, 1,000 miles away from artificial light sources.
The light meter doesn't matter. There are no photons. Don't open the shutter.
4. A textbook perfect electrophoresis gel, with very dark bands, no background stain, no faint bands.
If the gel has been dried onto white paper, then the gray card method results in an exposure on an absolute scale, but might not show the color of the bands if they are very dark. Bracket in the overexposure direction to make sure you can see the color of very dark bands.
If the gel is still wet, then the light source would be underneath the gel. Set a reference exposure on a region of background without any bands. Starting from the reference exposure, dial in at least 2 stops overexposure using the shutter speed dial. This will place the blank background near the bottom of the characteristic curve, where it will look almost featureless in the photograph. 2 stops overexposure could show a tiny bit of texture in the background, while 3 stops over probably won't. When in doubt, scan inbetween.
6. Same gel, a few faint bands. The thing of interest is the faint bands.
For a black and white picture of Coomassie stain, use a # 12 yellow filter to enhance the contrast. A # 25 red filter seems to work nicely when the "original" is
a color slide of a gel. Do not use these colored filters for color film!
It doesn't matter if the gel is dried. Point the light meter at the background not including bands. Set a reference exposure on the background. Scientists who are emotionally involved with their gel bands will see the faint bands clearly, but very faint bands look just like background to the film. It is difficult (for beginners) to judge how overexposed the faint bands can be before they reach the end of the characteristic curve and become invisible in the photograph. It is therefore wise to try 3 OVER-exposures, in 1/3 stop increments, starting from the reference exposure.
7. Electrophoresis gel, bands are stained just a little more than the background.
A "correct" exposure really is correct, this time. The optical density of the picture should be placed at the film's optimum to record the subtle difference between bands and other junk.
8. Silver stained electrophoresis gel, the usual mottled background, very dark bands. (Same story for Pharmacia Phast gels).
The very dark bands look dark almost independent of any reasonable exposure. I used to give 2 stops overexposure to the mottled background because it gave an optimistic view of the gel, but I have since reformed, and I give it a more realistic 1 stop overexposure.
Similarly, to get the pictures shown in Pharmacia Phast gel literature takes a
2-stop overexposure for the background (and overloading). Phast gels in real life are kind of ugly (these are opinions). Phast gel pictures from Dan's photo service all have 1 stop overexposure for the background, except as described in example 7.
9. Computer graphics colored stick figures on black backgrounds.
I think that graphics screens should be photographed with 100mm lenses in order to minimize the effect of screen curvature.
I think that 85-135mm is the range that should work.
A 55mm macro is only good for flat things.
I can think of 5 ways to do this. One is to make a reference exposure setting for a solid blue window, then dial in a 1.5-2 stop overexposure for the window, which is brighter than the atoms. The second way is to point the light meter at the thing of interest, which is mostly black, set a reference exposure, but then give it 2 stops underexposure relative to the reference. The third way requires using a camera (like mine) that has an autoexposure meter that integrates the light after the shutter opens. The exposure fudge factor seems to be about -2 stops.
The worst way is to rely on experience, because somebody might change the screen brightness and not tell you about it, or you might need to take pictures of an unfamiliar screen.
Ideally, the software would provide a large test target with the same brightness as the atoms.
All this light meter business fails completely when the camera (like mine) has a light meter that responds so fast that the graphics screen flickering becomes observable. With my camera, I have measured a 4 2/3 stop brightness range between the top of the flash and bottom of the decay. This bug has been left in the design as a feature because it alerts the photographer that the shutter speed and the moment of exposure will interact uncontrollably.
Many people say that the colored stick figures on a black background don't communicate anything. Art Olson says that "working graphics" are different from "publication graphics" because "working graphics" communicate the structure to the crystallographer who is accustomed to that structure, while "publication graphics" have to communicate to people who know other things. Probably
black-and white figures with tapered bonds would be better than the color stick figures. I'm beginning to think that the stick figures aren't worth photographing.
It is pointless to show stereo slides in a seminar.
A few non-scientific words about processing labs
The labs make very little profit from each roll of film. The big labs became big by maintaining consistent quality for thousands of rolls of film. Unless you live on the 900 block of North Highland Avenue in Hollywood, the little labs within walking distance should be used only when turn-around time matters more than quality.
Common photographic misteaks of science speakers
1. When using color slide film to make text slides, set the exposure on a gray card or something to ensure that white paper looks white. If you use the light meter on a white sheet of paper, it will look gray, by definition.
2. Color films must match the light source. Tungsten films work with tungsten lamps. Daylight films can also be used with tungsten lamps, but only using an 80A (blue) filter for both the light meter and taking the picture.
3. The text of text slides should be as large as possible, and carefully aligned to the edges of the film. Tilted text looks stupid.
Film choices and interconversions
Black text on white paper-------------------------------------------------------> black on white slide
Kodak Precision Line LPD4 in Dektol
Black text on white paper------------------------------------------------------> slide with white text,
dark blue background
Polaroid Polablue film, you need the processing machine.
Black text on white paper-------------------------------------------------------> slide with white text,
color background
Kodak Vericolor SO-279, with filters as instructed, plus 45M40Y (I think).
Black text on white paper---------------------------------------------------------> black on white print
Kodak Kodalith in D-19, then print on
Kodak Polycontrast III RC, finish F, at grade 5. Or, use a laser printer
Color negative---------------------------------------------------------------------------------------> color slide
Kodak Vericolor SO-279
Black and white negative--------------------------------------------------------> black and white slide Kodak Technical Pan in Technidol Liquid
Photo puzzle: How do you get a white background for a
black and white slide of a gel, with negative film, starting
from a negative.
Black and white print-------------------------------------------------------------> black and white slide
Kodak Direct MP in Dektol
or Agfa "Scala", with 2 days processing by Anonymous Mystery Labs
Color slide--------------------------------------------------------------------------------------------> color slide Kodak Ektachrome Slide Duplicating film 5071,
with filtration as printed on the box.
It's best to pay somebody else to do this.
Color print--------------------------------------------------------------------------------------------> color slide
Kodak literature says that Ektachrome Slide Duplicating film
will work, but I think you're better off with Ektachrome 64T tungsten
pro film. I will try Kodachrome 40 Type A one of these days,
because it has a blacker black, etc.
Color original, colors don't matter--------------------------------------------> black and white print
Kodak TMax 100 in Tmax, or Technical Pan in Technidol liquid,
printed on Kodak Polycontrast III RC, finish F.
Photo puzzle: Will a black and white print of a graphics screen
reverse the depth cueing?
Color original, colors matter-------------------------------------------------------------------> color slide
On copy stand: Kodak Ektachrome 64T Tungsten Professional
Flash, outdoors, or graphics: Kodak Ektachrome 100HC,
or Ektachrome 100plus pro (both with bright colors)
or Ektachrome "Lumiere" 100 pro (slightly bright)
or Ektachrome 100 pro (neutral),
or Fujichrome Velvia (screaming colors).
Color original, colors matter--------------------------------------------------------------------> color print
On a copy stand with tungsten lamps:
Kodak Ektar 25 pro film + 80A filter
or Kodacolor "Royal Gold" 100 + 80A filter
or Ektachrome 64T tungsten pro film, no filter,
followed by "Type R" print.
Printing from slides is supposed to be unambiguous
Saturday, April 5, 2008
Miguel Angel Rojas and his David
A Ming vase can be well-designed and well-made and is beautiful for that reason alone. I don't think this can be true for photography. Unless there is something a little incomplete and a little strange, it will simply look like a copy of something pretty. We won't take an interest in it.
Wednesday, February 20, 2008
Camilo Gonzalez
From Wikipedia,
Camilo Gonzalez Posso is a Colombian chemical engineer, historian, economist and political activist. He began his career as a teacher at different universities in Cali and Bogotá, Colombia, including the National University of Colombia, remaining at the academy for more than 20 years.
Gonzalez is the author of several books on political theory and Colombian economy, including Colombian History - 20th Century ("Historia de Colombia - Siglo XX"), Popular Participative Planning ("Planeación participativa popular"), Social Security Reforms (Health, Pensions and Professional Risks Politics) ("Reformas a la seguridad social (politicas en salud pensiones y riesgos profesionales)"), The End of Neo-liberalism (Neo-structuralism and Alternative Development) ("El fin del neoliberalismo (neoestructuralismo y desarrollo alternativo)") and Constitution and Democracy ("Democracia y constitución"), among others.
Gonzalez is the promoter, founder and president of several Colombian political parties such as the 1968 Socialist Block (Bloque socialista), the 1975 Socialist Party of the Workers (Partido socialista de los trabajadores), the 1989 Democratic Alliance M-19 (AD-M19). He also co-founded the Independent Democratic Pole (Polo Democratico Independiente) in 2002.
He has collaborated on several peace processes both within and outside Colombia. Between 1975 and 1981 he participated with the International Fourth, collaborating with revolutionary movements in Nicaragua, Peru, Brazil, France and Poland. From 1984 he took part in peace negotiations involving the guerrilla organizations in Colombia, working as Carlos Pizarro's successor to negotiate demobilization of the M19 guerrillas. He served as negotiator for the accord of the Constitutional Assembly of 1991. He was also one of the coordinators of the Mandate for Peace, which received 10 million votes in 1997 and called for a peace initiative seeking social justice and an end to civil war in Colombia.[1]
Gonzalez was elected Minister of State for Health under Cesar Gaviria's government. Currently he is the president of INDEPAZ, the Institute for Peace and Development ("Instituto de estudios para el desarrollo y la paz")People named González
In sport
In sport, González may refer to the following people:
- Fernando González (born 1980), Chilean tennis player
- Francisco Gonzalez (born 1955), Paraguayan tennis player
- Francisco González, Spanish moto racer
- Gilberto González (born 1970), Venezuelan triathlete
- Javier González (born 1962), Mexican race car driver
- Jorge Luis Gonzalez (born 1964), Cuban boxer
- José González, Cuban athlete
- Jose Huertas Gonzalez, Puerto Rican professional wrestler
- Mario González, Mexican boxer
- Ricardo (Pancho) Gonzalez (1928 – 1995), Mexican-American tennis player, ranked no. 1 for 8 yrs
- Ramón González (born 1966), Cuban javelin thrower
- Raúl González (born 1952, Mexican race walker
- Raúl González (born 1967), Cuban boxer
- Raúl González, Spanish handball player
- Tomás González (born 1959), Cuban track and field sprinter
- Víctor González, Uruguayan cyclist
In baseball
In baseball, González may refer to the following people:
- Adrian Gonzalez (born 1982), American baseball player
- Alexander González (born 1977), Venezuelan baseball player
- Alexander Scott Gonzalez (born 1973), American baseball player
- Fernando González, Puerto Rican baseball player
- Geremis Segundo González Acosta (born 1975), Venezuelan baseball player
- José Rafael González (born 1964), baseball player
- Juan Alberto González Vázquez (born 1969), Puerto Rican baseball player
- Juan M. Gonzalez (born 1982), Venezuelan baseball player
- Luis Alberto González (born 1979), Venezuelan baseball player
- Luis Emilio Gonzalez (born 1967), American baseball player
- Luis Enrique Hernandez Gonzalez (born 1983), Puerto Rican baseball player
- Raúl González, baseball player
In football (soccer)
In football (soccer), González may refer to the following people:
- Adrián González (born 1988), Spanish footballer
- Francisco González Lucas (born 1983), Spanish footballer
- Francisco Javier González Pérez (born 1969), Spanish footballer
- Juan Diego Gonzalez-Vigil Bentin (born 1985), Peruvian footballer
- Luis Oscar "Lucho" González (born 1981), Argentinean footballer
- Mariano Nicolás González (born 1981), Argentinean footballer
- Raúl González Blanco (born 1977), Spanish footballer
- Rónald González Brenes (born 1970), Costa Rican footballer
- Sebastián Ignacio González Valdés, Chilean footballer
In the arts
In the arts, González may refer to the following people:
- A. Andrew Gonzalez (born 1963), fantasy artist
- Francisco González Gamarra (1890 – 1972), Peruvian composer, painter, and sculptor
- Jessyel Ty Gonzalez (born 1983), American photographer
- Juan González (born 1949), American journalist
In music
In music, González may refer to the following people:
- Alejandro González (born 1969), Mexican musician
- Iván González (born 1975), Puerto Rican DJ and musician
- Jaslene Gonzalez, winner of America's Next Top Model, Cycle 8
- José González (born 1978), Swedish singer-songwriter
- Jose Patino Gonzalez, Flamenco guitarist, inventor of the capo.
- Juan de Marcos González (born 1954), Cuban bandleader
- Rodrigo González, Mexican musician
- Rubén González (1919 – 2003), Cuban pianist
- Scheila Gonzalez (born 1971), American jazz saxophone player
In literature
In literature, González may refer to the following people:
- Ángel González (born 1925), Spanish poet
- Francisco González Bocanegra (1824 – 1861), Mexican poet
- Francisco González González (born 1922), Spanish poet and historian
- Francisco González Ledesma (born 1927), Spanish journalist and novelist
- Francisco González Prieto (1859 – 1937), Spanish writer
- Juan Ignacio González del Castillo (1763 – 1800), Spanish playwright
- Manuel González Zeledón (1864 – 1936), Costa Rican writer and diplomat
- Maria Teresa Maia Gonzalez, Portuguese writer
In film and television
- Francisco González, Latin American voice actor
- José González, cinematographer
- Rick Gonzalez (born 1979), American actor
- Robert Gant (born 1968), American actor born as Robert Gonzalez
- Raúl González, Venezuelan TV host
- Raúl González, comedian
- Víctor González, Latin American cinematographer
- Víctor Manuel González Reynoso (born 1973), Mexican actor
In politics
In politics, González may refer to the following people:
- Charles A. Gonzalez (born 1945), Texas politician
- Emiliano González Navero (1861 – 1934), former president of Paraguay
- Felipe González, former prime minister of Spain
- Francisco Gonzalez, member of the 15th Legislative Assembly of Puerto Rico.
- Francisco González de la Vega e Iriarte (1901 – 1976), Mexican politician
- Henry Barbosa Gonzalez (1916 – 2000), Texas politician
- Juan Gualberto González (1851 – 1912), former president of Paraguay
- Juan Natalicio González Paredes (1897 – 1966), former president of Paraguay
- Luis Ángel González Macchi (born 1947), former president of Paraguay
- Luis Gonzalez, governor of the Venezuelan state of Trujillo
- Manuel González (1833 – 1893), President of Mexico
- Manuel González Prada (1844 – 1918), Peruvian politician
- Matt Gonzalez (born 1965), American Green Party politician
- Raúl Maravilla González, Secretary of Justice of the Philippines
In other fields
- Andrew Benjamin Gonzalez (1940 – 2006), linguist, writer, educator, and Lasallian Brother
- Elián González (born 1993), Cuban child who was the center of a custody battle
- Juan Miguel González, father of Cuban raft boy Elián González
- Guillermo González Camarena (1917]]-1965, Mexican engineer
- Juan E. González, scientist and educator
- Juan González de Mendoza (c. 1540 – 1617), Spanish sinologist
- Víctor González, legal representative of Coro TV
- Víctor González Torres (born 1947), Mexican businessman
Family Crests: the Heraldic Artist
We have researched the gonzalez family crest in the most recognized sources. Before an artist or craftsman can render a family crest, it must exist. In other words the crest must have been designed and recorded by the heralds from time immemorial.
Heraldic designs matriculated by the lay-artist in many cases becomes uninspired, meretricious and even ugly...
More Family Crests: Timeline
Many of the symbols adopted into armory have been used since the time of the ancient Egyptians, but heraldry itself did not begin until the 11th century. In continental Europe, the most ancient recorded family crest was discovered upon the monumental effigy of a Count of Wasserburg in the church of St. Emeran, at Ratisobon, Germany...
More Family Crests: Elements
More Family Crests and Genealogy: how they relate
Sunday, February 10, 2008
random thinking
Nostalgic art or imagery, mmmmmmmmmmmm...... I found some info on the web about it. The tablet I bought in Christmas is going to help me a lot on my next images. I just hope it works out. the web page turned out pretty good. I hope I can scan more and more negatives and expand from it. here is the link also. it would be cool to maybe see the responce of people to the portraits without them knowing, too bad I told the class they were fake. Oh well I will see what comes out from it.
http://gallery.uh.edu/~cjgonza3
Today I found myself in front of an interesting and time consuming site. The site is called http://www.makeoversolutions.com/ and what it does is that it lets you upload a picture and you will them pick from different hairstyles and looks they have preloaded. Preloaded looks could be the solution for a preloaded identity, they even have celebrity profiles you copy to yourself and look even better!!!. I just found it amusing and quite compelling. Here are some of the images we created with my peer Mr Pickles.
Tuesday, January 15, 2008
I wonder if we are always going to resolve around the same question.
Identity as an admixture of the genetic component and the traits developed by the accidents of personal history.???
I remembered I had this small paragraph in which there is much to think about:
We are the victims of an epidemic case of mistaken identity, with our Supreme Identity quietly but surely awaiting discovery. And the mystics want nothing more than to have us awaken to who, or what, we really and eternally are beneath or under or prior to our pseudo-self. Thus they ask us to cease identifying with this false self, to realize that whatever I can know, think, or feel about myself cannot constitute my real Self.
My mind, my body, my thoughts, my desires – these are no more my real Self than the trees, the stars, the clouds, and the mountains, for I can witness all of them as objects, with equal felicity. Proceeding in this fashion, I become transparent to my Self, and realize that in some sense what I am goes much, much beyond this isolated, skin-bounded organism. The more I go into I, the more I fall out of I.
EKW.25 EKW = Essential Ken Wilber pub Shambhala