Sentences with phrase «color photographic images»

Not exact matches

It is a novel method for producing color images on black - and - white photographic paper without using pigments or dyes

In order to capture a photographic image in a camera or for your eyes to focus on an image through eyeglasses, the different colors of light must pass through the lenses and converge to a point on the camera sensor or on the eye's retina.

In this exaggerated - color image, the beams fanning away from the rings are an artifact of the photographic process, just as a personal camera sometimes captures the glare in a snapshot at the beach.

Stacking several photographic layers, each assigned a different color, they obtained this well - defined image of the entire animal.

In order to produce the color image seen here, I worked with data coming from 2 different photographic plates taken in 1986 and 1989.

This color image is based on data coming from several photographic plates taken since 1974 through the Anglo Australian Observatory's 48 - inch (1.2 - meter) UK Schmidt Telescope.

In order to produce the color image seen here, I worked with data coming from 8 different photographic plates taken between 1988 and 1997.

This color image is based on data coming from 33 photographic plates taken between 1987 and 1995 through the Palomar Observatory's 48 - inch (1,2 - meter) Samuel Oschin Telescope as a part of the second National Geographic Palomar Observatory Sky Survey (POSS II).

With stunning images of men and women who caught Scott's eye in traditional fashion locales like New York, London, and Milan, as well as newer ones including Peru, India, Dubai, and South Africa, The Sartorialist: X celebrates the many cultures of pattern and color found across the world, making it a thrilling source of photographic inspiration.

To do this we investigate: • what is good composition in an image • the techniques used to achieve effective composition • visual weight • forms of balance: symmetric, asymmetrical, radial and mosaic • forms of symmetry: reflective, rotational, and translational • photographic balance: color, tonal and conceptual balance • the rule of thirds • improving balance using cropping in Photoshop.

Curated in collaboration with Mark Sealy and Renée Mussai of Autograph ABP, whose co-founder and first Chair was Rotimi Fani - Kayode, the exhibition features a selection of his most important photographic works produced between 1985 - 1989, including large - scale color works and arresting black and white images.

The works that brought her to international attention, the series Ground and Field, presented photographic blurs caused by focusing the camera on an unoccupied foreground; these lushly colored images tested connections between the descriptive clarity of photography and the haze of memory.

In addition to the drawings, which are inspired by a diary she kept since childhood, the show includes photographic grids that bring together images that span decades and countries, each one dedicated to a different color.

Her photographic images are composed beautifully, melancholic in its mood, bristling with harmony and tantalizes with a placid color palette.

Here it comes in the form of a pale, 1960s Wallace Berman image of the moon's remote surface overlaid with cryptic writing; a black - and - white Vija Celmins screen - print of the vast, horizonless ocean that appears to carry a faint «X,» as if the printing plate had been canceled; a ragged piece of fiberglass painted with a Tiepelo - like sky by Joe Goode, who seems to have ripped it from either the actual heavens above or a movie - studio set; and a photographic close - up of shifting desert sand, over which actual sand and colored pigment has been applied by David Benjamin Sherry, as if reality were a veil obscuring camera - created truth in our mediated universe.

Greenfield - Sanders» artistic process involves pushing and pulling a photographic image through different iterations, changing the color, scale and medium of the work to see how this process alters the end composition.

Curated in collaboration with Mark Sealy and Renée Mussai of Autograph ABP, whose co-founder and first Chair was Rotimi Fani - Kayode, the exhibition features a selection of his most important photographic works produced between 1985 - 1989, including large - scale color works and arresting black and white images.

The former — an abstract collection of images created by inputting a series of numbers corresponding to frequencies, amplitudes, and color values into a custom - designed program — plays with the role technology plays in photographic representation; the latter, staged scenes from a imaginary emergency situation of power loss in New York City, explores what happens to human emotions in such scenarios.

In 1968 there is a change of route with the performance titled Cancellazione d'Artista, held at La Tartaruga, whose photographic record is on view at the Roman exhibition: the artist stands behind a glass sheet that he starts painting until the color completely deletes his image.

These prints represent all manner of special processes and innovative techniques in printing — such as using linen and cotton pulp paint and photo - luminescent inks; black and white and colored lithography; creative integration of collage and cut paper; incorporation of photographic images into digital prints; screen printing; and many others.

Some of his celebrity portraits were first «under - painted» by tracing simple outlines of the photographic image onto the canvas and painted in blocks of color.

Rousseau's deep connection to the landscape culminates in a cascade of textures and colors in luminous, richly dark drawings... For eyes that have become drowsy with photographic clichés, where pictures of the wildest nature have been domesticated, images so routine they lose any sense of a life of their own, Rousseau give us a profound nature, full of shadowy darks and lights, alive and enveloping us.»

Untitled (1993) by Jack Goldstein is large format painting transposing a photographic image of a night sky with different colored concentric light circles over a landscape whose silhouette hints at tree tops and a red lava stream.

While it interests me that working this way speaks directly to technical and historical photographic processes, I'm most excited by the accidents of the resulting images: the movement in between my three frames, and the mis - registered overlapping... Outside of the reasons this process was originally developed, mainly a solution to reproduce the world's color, I'm looking for: unseeable squirming, shifting, and growth, arms flailing in ecstasy, or light slowly moving across our walls.

Unique offerings from Andy Warhol include the recently acquired Polo, a silkscreened outlined image on a collage of colored papers from a delightful series revolving around various incarnations of the photographic subject, created by the artist in 1985.

Other highlights include Edgar Arceneaux's nine - channel video installation «The Alchemy of Comedy... Stupid» (2006), featuring a performance by comedian David Alan Grier; Tammy Rae Carland's «I'm Dying Up Here» (2011), a series of large - scale color photographs of female stand - up comedians captured mid-act, emphasizing the vulnerability of performance; Stanya Kahn's absurdist, pathos - filled video «Lookin Good, Feelin» Good» (2012), shown alongside a selection of her humorous line drawings; and an installation of Sara Greenberger Rafferty's visceral photographic works, for which she manipulates images from the history of late 20th century comedy.

The color images are made with one of the most antiquarian of photographic processes: the camera obscura, literally translated from Latin as «dark room.»

Flamboyant brushstrokes compete with the photographic image, forming color splashes on Mao's clothing.

The studio is jammed with assistants color - correcting dyes, poring over photographic images, and managing office business.

Amplifying the voices in this exhibition is a 190 + page color catalogue with detailed images of these objects of resistance, which includes critical essays by Dr. Carolyn Mazloomi, Micol Hebron, Betti - Sue Hertz, Noel Anderson, and Jenny Ustick; as well as photographic documentation from the day as seen through the eyes of the artists and activists who were on the ground, around the country on January 21st, 2017.

The publication is introduced by a set of photographic archive images representing the formal and iconographic sources of the paintings, which are then shown in a chromatic sequence highlighting the artist's deep research on colors, light and space.

His application of thick vinyl onto the surface of the frame, and his use of saturated color materials to obscure portions of images, significantly comment on the photographic images underneath.

The highly imaginative color images redefined what a photographic image could be in the age of photographic reportage and black - and - white fine art photography.

The New York Center for Photographic Arts (NYC4PA) invites photographers world - wide to submit images using any photographic process (print, image transfer, emulsion transfer, encaustic, black and white, Photographic Arts (NYC4PA) invites photographers world - wide to submit images using any photographic process (print, image transfer, emulsion transfer, encaustic, black and white, photographic process (print, image transfer, emulsion transfer, encaustic, black and white, color etc.).

Tim Portlock and Shuli Sadé have created digital and mixed media works that transform the visible through technology; the painters Michael Bartmann and Bruce Garrity have used color and form to create vibrant and engaging images; the photographer Ken Hohing is revisiting a photographic project from the 1980s documenting Camden to highlight how differently we see photography and its objects; and the designer and photographer Eric Porter inventoried striking visual images that the textures and colors of the city of Camden offer the attentive viewer.

PHOTOGRAPHIC CENTER NORTHWEST: 900 12th Ave. «Personal Viewpoints,» the seventh annual photographic competition exhibition with juror Michael Kenna reviewing 80 images ranging from color, black and white, digital, conceptual and PHOTOGRAPHIC CENTER NORTHWEST: 900 12th Ave. «Personal Viewpoints,» the seventh annual photographic competition exhibition with juror Michael Kenna reviewing 80 images ranging from color, black and white, digital, conceptual and photographic competition exhibition with juror Michael Kenna reviewing 80 images ranging from color, black and white, digital, conceptual and documentary.

[3] Bearden's collage techniques changed over the years and in later pieces, he would use blown - up photostat photographic images, silk - screened, colored paper, and billboard pieces to create large collages on canvas and fiberboard.

In 1970 he returned to color, continuing to use photographic portraits as a model but incorporating a new technique in which he constructed the image from a gridded arrangement of individual color squares, each of which is like an abstract painting; viewed from afar, they form a unified, highly realistic image.

This includes images from his «Freischwimmer / Greifbar» series, abstract pieces that are the result of light exposed onto color photographic paper.

And as a bonus, his photographic images of South African flowers, accurately colored by his wife, were published and retain considerable scientific interest to this day.

Jpegs are produced with terrific dynamic range, excellent color depth, and Leica's image processing provides options and controls for users, producing more photographic output.

JPEG (Joint Photographic Experts Group): File format that reduces color image file sizes to about 5 percent of their normal size but loses some detail in the process.

New specialized color digital photo printers bring instant printing convenience to digital photography, allowing you to print out an image in your office or in the field, yet still get the look and feel of a glossy, professional photographic print.