The exhibition looks at the various subjects which Learoyd photographs in his studio, including portraits, figure studies, and still lifes, and how
his use of camera obscura influences the overall impression of his large - scales works.
Not exact matches
This Tent -
Camera now liberates me to use camera obscura techniques in a world of new places.&
Camera now liberates me to
use camera obscura techniques in a world of new places.&
camera obscura techniques in a world
of new places.»
It shows you how artists have developed a window on a flat space through first
of all basic means
of overlapping, placement, symmetry and story telling and how this changed with Giotto and Masaccio (
use of light and dark shading) and how Brunelleschi brought the grid and
camera obscura to develop a window to the world in his paintings.
At just over seven feet long, Vera Lutter's gelatin silver print
of the Venetian skyline, Campo San Moise, Venice, VIII: March 4 (2006), produced
using a
camera obscura, dominates the room.
His fascination with technological methods for producing paintings is also evident in the 2001 television program Secret Knowledge, in which Hockney posited that the Old Master painters
used camera obscura techniques to project images
of their subjects onto their paintings» surfaces, leading to the photographic quality
of Renaissance painting.
Using techniques developed in the ancient world to project an outdoor scene onto the walls
of a darkened room, he creates a natural optical phenomenon that he then captures with a large - format
camera, as seen in Camera Obscura Image of Manhattan View Looking West in Empty Room that is part of SAAM's Latino and photography collec
camera, as seen in
Camera Obscura Image of Manhattan View Looking West in Empty Room that is part of SAAM's Latino and photography collec
Camera Obscura Image
of Manhattan View Looking West in Empty Room that is part
of SAAM's Latino and photography collections.
The Middle Passage is a performance art series curated by George Del Barrio and Kate Ladenheim
using a focused
camera obscura with multiple projections
of the world outside the gallery to create surface - mapped stages upside - down and backwards on the gallery walls.
In the 2001 television programme and book, Secret Knowledge, Hockney posited that the Old Masters
used camera obscura as well as
camera lucida and lens techniques that projected the image
of the subject onto the surface
of the painting.
Using the
camera obscura as a point
of departure, I pursue an experience
of light that engages the unseen in everyday phenomena.
A
camera obscura brings the outside inside, turning the busy road and building site beyond upside down and into a thing
of wonder, and a mini-weather station has been set up with all manner
of gadgets
used for measuring the world around us.
The exhibition, curated by Jerry Spagnoli, examines the contemporary
use of those techniques and includes daguerreotypes by Takashi Arai, Adam Fuss, and Craig Tuffin; Stephen Berkman's albumen prints from wet - collodion negatives; Dan Estabrook's calotypes and salt prints; ambrotypes by Luther Gerlach, Craig Tuffin, and Matthias Olmeta; Vera Lutter's
camera obscura photography; Sally Mann's positives; and «photogenic drawings» by France Scully Osterman & Mark Osterman.
century landscape artists to the blackened, slightly convex pocket mirrors
used to reduce tonal values and which served as a form
of camera obscura when looking at the view behind one's head.
An exhibition
of contemporary photographs
using 19th - century photographic techniques and processes — daguerreotypes, photogenic drawings, calotypes, ambrotypes, tintypes, and
camera obscuras — is currently on view at Howard Greenberg Gallery in New York.
Lutter
uses the most primitive
of photographic apparatuses — a
camera obscura — to create monumental photographs.
Painters have
used projection as a tool at least since the days
of the
camera obscura, the device thought to have facilitated Vermeer's uncanny photorealism.