#Lucida Obscura

[knifeeater]

When the flickering light leads us to the gazing audience in the film, we are thrown back to our own watching, our own dwelling, reminded that the true object of fascination in the cinematic experience is light and what it means to be held by light. What is the pleasure of cinema as a sensual experience if not the fantasy that we can fuse our eyes to light, a fantasy of sight as well as blindness?

Anne Anlin Cheng Ornamentalism

[everywhichship]

So does anyone have either the Hundred Year’s Playlist or Lucida Obscura Stucky fic download or saved? It seems like they were deleted and I gots to read it so badly

[archivist-dragonfly]

Book 516

Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters - New and Expanded Edition

David Hockney

Viking Studio 2006

With the exception of his photo collages (which I think are incredible), I have never been much of a David Hockney (b. 1937) fan. His paintings just never really did much for me. That all changed with this book. Taking two years off from painting, Hockney devoted himself to trying to answer some artistic technical questions—to wit: how were the Renaissance masters able to reproduce what they saw with such detailed accuracy? His investigation would eventually lead to what is now known as the Hockney-Falco Thesis. Briefly, the Thesis states that in addition to advancements in materials and techniques, the Old Masters also utilized new scientific innovations such as cameras obscura, cameras lucida, and curved mirrors to achieve the incredible level of detail. This, of course, led to a rather heated debate among not just art historians but also scientists that is still ongoing. The upshot is that after reading this book, I have an entirely new respect for Hockney and his work. It isn’t that I necessarily like his paintings any more than I did, but I do see them in an entirely new light.

[uyumadan]

Camera kelimesi Latince oda anlamına geliyor. Zaten İngilizcedeki "chamber", dilimize Yunanca'dan dilimize birçok denizcilik teriminde olduğu gibi geçen "kamara" kelimesi de bundan türemiş durumda. Ayrıca zenginlikle özdeşleştirilen röpteşambr kıyafetinin ismi de Fransızca "oda kıyafeti" anlamına gelen "robe de chambre"dan geliyor. Biz de tam anlamıyla Türkçe olan "oda" kelimesini kullanıyoruz. Ateş anlamına gelen od'dan -tıpkı "odun" kelimesinde olduğu gibi- türemiş olan ve Türklerin tepesi delikli çadırları anlamına gelen otağ, yani "içinde ateş yakılan yer" kelimesinden türeyen oda kelimesi.

Peki nasıl oldu da camera kelimesi, fotoğraf veya video çeken cihaz anlamında kullanıldı? Aslında bu teknolojiler bu kelimenin içine doğdu şeklinde ifade edebiliriz. Öncelikle bahsetmemiz gereken terim, "karanlık oda" anlamına gelen "camera obscura". Buna bir alet veya bir teknik de diyebiliriz.

Basitçe anlatmak gerekirse, kapkaranlık bir oda içerisinde dışarıdan ışık alabilecek ufak bir delik bulunduğunda, o deliğin karşısında bulunan yüzeye deliğin diğer tarafındaki görüntünün dikey olarak ters bir şekilde birebir yansıması diyebiliriz. Peki bu nasıl mümkün oluyor?

Gündelik hayatta etrafta çok farklı yönlere saçılan, düzensiz durumda diyebileceğimiz çok fazla ışık ışını mevcut. Eğer bu ışınlardan bir yöne giden, bir doğrultuda olanları filtreleyebilirsek onlar da üzerinden yansıdıkları cisimlerin görüntüsünü bize verecektir. O küçük delikten deliğin karşısındaki nesnelerden, yalnızca deliğe doğru yansıyan ışınlar geçiyor ve çarptıkları duvara kendi taşıdıkları ışığı yansıtıyorlar. Oda da tamamen karanlık olduğu için başka ışınlar onu bastıramıyor.

Bunu küçük bir kutu içerisinde yapmanız da mümkün. Karşısına da ışığa duyarlı bir kağıt veya levha yerleştirdiğinizde de tarihin ilk kameralarına benzer bir cihaz elde etmiş olursunuz. Buna "pinhole camera", yani iğne deliği kamera da denir.

Camera obscura'dan bahsetmişken kısaca camera lucida'dan da bahsedeyim. Bu da bir nevi "aydınlık oda" ve "aydınlatılmış oda" anlamına gelen bir terim. Çok daha az bahsi geçen, pek de ilişkili olmayan bir kullanım. Çizim yaparken kullanılan, çizim işini kolaylaştırmaya yarayan bir teknik veya bir cihaz diyebiliriz.

Camera lucida, çizilen ortamla (kağıt) çizimi yapılan nesnenin üst üste görünmesini sağlayan bir yöntem. Aynadan yansıyan karşıdaki görüntü çizimle gözlemcinin arasında bulunan camın üstüne düşüyor, böylece aynı görüntüde yer alabiliyorlar. Bir nevi çizim yaparken üstünden geçmek gibi.

Sonuç olarak camera obscura ifadesinin ilk kelimesi olan camera, bu tekniği uygulayan cihazın adı olarak kullanılmaya başlanıyor. Aslında camera obscura'yı evde yapabilmeniz mümkün. Youtube'da da çeşitli videolar var. Onlara bakabilirsiniz. Dur bakayım birkaç taneye.

Arama kısmına "camera obscura" yazın, bolca içerik çıkacaktır.

Ben de yapayım dedim. Simsiyah bir perdem var. Tabii ne yazık ki tek parça. Bir de tuvalet kağıdı rulosu yeterli olacaktır. Ancak en önemli malzeme bunlardan biri değil, en önemli malzeme manzara amk. Şuna bak

Duvarın neyini yansıtayım? Bi' ara çapraz mapraz açıyla, küçücük bir delikle vesaire bir şeyler deneyeyim diyorum ama. Kestiğim kağıt havlu rulosuyla vesaire olmayınca üşendim devam etmeye. Hadi gittim ben, çıkıp biraz gezeyim

[painterslogbook]

Day 272/oct13

Very little time on painting. Chatting with Z and Zs and surfing mostly youtube in the morning, plus application for trainee position. We'll see.

2 books at amazon and a free resource website

Camera lucida obscura. Concave mirror

Downloaded a harold speed book on technique and a Velasquez biography too.

[drew-mga2022mi5017]

Research | The Hitchcock Scenario - Brief Analysis

My initial pitch for MI5014 is as follows; a story about a fresh university student moving into her dorm room and meeting her eccentric dormmate(s), loosely based on the characters in Scooby Doo.

The final project for this module according to the brief is as follows;

"The concept of ‘home’ – as Mr. Botton describes – is by its nature, familiar. It is our personal space, our territory. So how might we act when something or someone unfamiliar enters our home? Having designed and modeled your response to the MI5014 Character Design brief ‘The Lodger’, you will develop an animation performance in which the Home Owners and the Lodger interact. This brief requires an in-depth exploration of how characters’ actions / behaviour alter in the presence of another character who visibly contradicts their personal values and ideologies."

The Lodger, in this case would be a character based on Velma, and the dormmates, members of the Mystery Gang. Velma in this scenario is the most "normal" of the bunch, whereas the others are all loud and eccentric.

How would my characters interact with each other in the space? To answer that I first dug into why the Brief was given it's name, Hitchcockian.

Alfred Hitchcock is a director famously known for his use of suspense. But what even is suspense? It can be quite plainly described as the desire to know, accompanied by the anxious feeling of not knowing what happens next.

During my research, I came across a book published by the Amsterdam University Press which went by the title of Camera Obscura, Camera Lucida. The author, Richard Allen, delves into Hitchcock and his relationship with Narrative Suspense. According to the analysis, the narrative suspense generated by the main plot consisting of the hero and the villain is directly linked to the suspense generated in the romantic subplot of his stories, thus illustrating that there are two types of narrative suspense. "In a thriller, our concern lies with the threat posed by the agents of evil and fear for the hero's safety, whereas the emotional emphasis of romantic comedy lies in our wish for a happy outcome and the way in which that wish is frustrated by obstacles placed in the way of romance."

The book mentions that these obstacles, paradoxically, are also something that is related to or desired by the hero or heroine. Relating this fact back to my story, which does not take the traditional approach to creating suspense, The Lodger simply wants a sense of "normalcy" and a normal university life. The obstacles here in this case would be the eccentricity of her dormmates, which prevent that normalcy. This also somewhat lies within Hitchcock's principles of suspense, which is the inversion of the orthodox.

Hitchcock often makes viewers of his works also sympathize with the devil. This gave me the idea to make the Lodger rather unlikeable, but due to the sheer pitifulness of her situation, viewers cannot help but sympathize with her. The paper also postulates that Hitchcock uses humor to ensure the audience's willingness to enjoy not only "negative" emotions but a reversal of their customary moral allegiances. Thus humor also contributes to the diffusion of suspense. As such, I plan to incorporate a level of humor into the scenario in addition to plain suspense, in order to make the scene more interesting.

This also leads me into what is commonly known as Murphy's law, which is as follows;

This principle will be central to my story, bearing in mind that I have a maximum time of 40 seconds of animation.

With all these factors in mind, I have crafted a scenario. The Lodger would be standing at the door of her new dorm, in an empty well lit hallway. Nervously, she would open the door and be greeted by the chaos of the Home Owner(s)' abode. She would try to introduce herself only to be cut off by the sounds and chaos around her, almost to an uncomfortable degree. As the chaos ensues the Dormmate(s) would introduce themselves as the Lodger becomes visibly more and more on the verge of explosion, the source of tension in this plotline. The scene would be humorous but also carry the sense of underlying suspense Hitchcock is well known for. The scene would end with a diffusion of this suspense caused by a dormmate making a joke, or the Lodger humiliating herself in front of the people she would now be forced to live with.

Citation: Allen, R., 2003. Hitchcock and narrative suspense. Camera obscura, Camera lucida: Essays in honor of Annette Michelson, pp.163-182.

[theferalbones]

All these artists saying 'tracing is cheating' are gonna short circuit when they hear about the camera obscura and the camera lucida.

[greysdomain]

Kaleidoscope image disc

#Kaleidoscope image disc how to

#Kaleidoscope image disc full size

Brewster stated that the kaleidoscope was different because the particular positions of the object and of the eye, played a very important role in producing the beautiful symmetrical forms. It was thought that the patent was reduced in a Court of Law since its principles were supposedly already known.

#Kaleidoscope image disc how to

Because so relatively few people had experienced a proper kaleidoscope or knew how to apply it to ornamental arts, he decided to publicize a treatise on the principles and the correct construction of the kaleidoscope. Brewster figured at most a thousand of these were authorized copies that were constructed correctly, while the majority of the others did not give a correct impression of his invention. An estimated two hundred thousand kaleidoscopes sold in London and Paris in just three months. Soon the instrument was copied and marketed before the manufacturer had prepared any number of kaleidoscopes for sale. Unfortunately the manufacturer originally engaged to produce the product had shown one of the patent instruments to some of the London opticians to see if he could get orders from them. 4136 "for a new Optical Instrument called "The Kaleidoscope" for exhibiting and creating beautiful Forms and Patterns of great use in all the ornamental Arts" was granted in July 1817. Brewster believed it would at the same time become a popular instrument "for the purposes of rational amusement". Artists could accurately delineate the produced figures of the kaleidoscope by means of the solar microscope (a type of camera obscura device), magic lantern or camera lucida. īrewster thought his instrument to be of great value in "all the ornamental arts" as a device that creates an "infinity of patterns". The last step, regarded as most important by Brewster, was to place the reflecting panes in a draw tube with a concave lens to distinctly introduce surrounding objects into the reflected pattern. A version followed in which some of the objects and pieces of glass could move when the tube was rotated. An early version had pieces of colored glass and other irregular objects fixed permanently and was admired by some Members of the Royal Society of Edinburgh, including Sir George Mackenzie who predicted its popularity. This triggered more experiments to find the conditions for the most beautiful and symmetrically perfect conditions. A while later he was impressed by the multiplied reflection of a bit of cement that was pressed through at the end of a triangular glass trough, which appeared more regular and almost perfectly symmetrical in comparison to the reflected objects that had been situated further away from the reflecting plates in earlier experiments. He forgot about it, but noticed a more impressive version of the effect during further experiments in February 1815. Stand sold separately.In 1814, Sir David Brewster conducted experiments on light polarization by successive reflections between plates of glass and first noted "the circular arrangement of the images of a candle round a center, and the multiplication of the sectors formed by the extremities of the plates of glass". Patterns for color wheels and complete instructions.

#Kaleidoscope image disc full size

Mirror, complete brass axle assembly, mounting eyelets, 12 full size Included are three precut pieces of aluminized front surface This kit creates a traditional stained glass kaleidoscope inĪ compact size. No glass, patterns or instructions # 1151 Surface Mirror, Brass Axle, Brass Ball, Eyelets, 4 Brass Rods, Brass Wire,įlat Brass Strip, and Neoprene Foam Tape. Kit includesġ piece of Trapezoid Front Surface Mirror, 3 pieces of rectangular Front This unique kaleidoscope in the shape of a helicopter is another guaranteed conversation piece. No glass, patterns or instructions # 1122 Just add your choice of glass to make this fun biplane with 9" wingspan. Kit includes wood wheels, hardware, precut front surface mirrors and patterns. This unique kaleidoscope in the shape of a classic biplane is a guaranteed conversation piece. Viewing tube and two rotating hexagonal color wheels. Contains all the patterns, instructions and hardware necessary to makeĪ kaleidoscope from stained glass.

[seyoung230]

The Camera Obscura and Painting

Unit 9

Research  

Since the advent of photography, there has been a somewhat uneasy relationship between photography and painting. Even though the word, "photography" means "drawing with light" when translated from its Greek roots, many painters are reluctant to admit that they work from photographs. But many painters now use them as references, and some even work from them directly, by enlarging and tracing them.

Some, like well-known British artist David Hockney, believe that Old Master painters including Johannes Vermeer, Caravaggio, da Vinci, Ingres, and others used optical devices such as the camera obscura to help them achieve accurate perspective in their compositions. Hockney's theory, officially called the Hockney-Falco thesis (includes Hockney's partner, physicist Charles M. Falco), postulates that advancements in realism in Western art since the Renaissance were aided by mechanical optics rather than merely being the result of improved skills and abilities of the artists.

The Camera Obscura The camera obscura (literally "dark chamber"), also called a pinhole camera, was the forerunner of the modern camera. It was originally a darkened room or box with a small hole in one side through which rays of light could pass. It is based on the law of optics that states that light travels in a straight line. Therefore, when traveling through a pinhole into a dark room or box, it crosses itself and projects an image upside down on the opposite wall or surface. When a mirror is used, the image can be reflected on a piece of paper or canvas and traced.

It is thought that some Western painters since the Renaissance, including Johannes Vermeer and other Master painters of the Dutch Golden Age that spanned the 17th century, were able to create very realistic highly detailed paintings by using this device and other optical techniques.

Documentary Film, Tim's Vermeer The documentary, Tim's Vermeer, released in 2013, explores the concept of Vermeer's use of a camera obscura. Tim Jenison is an inventor from Texas who marveled at the exquisitely detailed paintings of the Dutch painter Johannes Vermeer (1632-1675).  Jenison theorized that Vermeer used optical devices such as a camera obscura to help him paint such photorealistic paintings and set out to prove that by using a camera obscura, Jenison, himself, could paint an exact replica of a Vermeer painting, even though he was not a painter and had never attempted painting.

Jenison meticulously recreated the room and furnishings portrayed in the Vermeer painting, The Music Lesson, even including human models accurately dressed as the figures in the painting. Then, using a room-sized camera obscura and mirror, he carefully and painstakingly proceeded to recreate the Vermeer painting. The whole process took over a decade and the result is truly amazing as seen in the trailer of the documentary Tim's Vermeer, a Penn & Teller Film.

David Hockney's Book, Secret Knowledge During the course of the filming of the documentary, Jenison called upon several professional artists to assess his technique and results, one of whom was David Hockney, the well known English painter, printmaker, set designer and photographer, and master of many artistic techniques. Hockney has written a book in which he also theorized that Rembrandt and other great masters of the Renaissance, and after, used optical aids such as the camera obscura, camera lucida, and mirrors, to achieve photorealism in their paintings. His theory and book created much controversy within the art establishment, but he published a new and expanded version in 2006, Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, and his theory and Jenison's are finding more and more believers as their work becomes known and as more examples are analyzed.

Does It Matter? What do you think? Does it matter to you that some of the Old Masters and great painters of the past used a photographic technique? Does it diminish the quality of the work in your eyes? Where do you stand on the great debate over using photographs and photographic techniques in painting?

https://www.liveabout.com/camera-obscura-and-painting-2578256

[chiyume-arts]

Lucida Obscura by chiyume-arts & gwyneth rhys on Ao3 [x] 

Collab for the Captain America Reverse Big Bang 2018

[ellynneversweet]

There’s a line in Tristram Shandy that suggests that the use of a camera obscura or camera lucida was common enough in portrait painting to be a throw-away remark in an 18th century novel, so no one nowadays has any grounds to bitch about artists using shortcuts or references. It’s literally been going on since some renaissance efficiency king being paid by the brush stroke figured out how to turn a room into a pinhole camera, shut up.

Others, to mend the matter, will make a drawing of you in the Camera;—that is most unfair of all, because, there you are sure to be represented in some of your most ridiculous attitudes.

[pogphotoarchives]

Today is Worldwide Pinhole Photography Day. The Palace of the Governors Photo Archives is home to the Pinhole Resource Collection, the world's largest collection of pinhole photography.

"Paula" from the series camera lucida, Finland

Photographer: Marja Pirila

Date: 1996

Negative Number: HP.2012.15.876

[shihlun]

Daniel Boudinet - Polaroid (1979)

We open Camera Lucida to a frontispiece, a color polaroid by Daniel Boudinet that never receives any commentary in the text. The only words of (Roland) Barthes that might be applied to it are equivocal or negative (“Polaroid? Fun, but disappointing, except when a great photographer is involved”; “I am not very fond of Color … color is a coating applied later on to the original truth of the black-and-white photograph … an artifice, a cosmetic (like the kind used to paint corpse)”. Are we to suppose, then, that Barthes simply “likes” this photograph and admires Boudinet’s art? These criteria are continually subverted in Barthes’s text by his seemingly capricious preferences, his refusal to assent to canonized masterpieces and masters: “there are moments when I detest Photographs: what have I to do with Atget’s old tree trunks, with Pierre Boucher’s nudes, with Germain Krull’s double exposures (to cite only the old names)?”. The Boudinet polaroid stands independent of Barthes’s text: the best “reading” we can give it is perhaps simply as an emblem of the unreadability of photography, its occupation of a site forever prior to and outside Barthes’s text. The photo presents an image of a veiled, intimate boudoir, simultaneously erotic and funereal, its tantalizingly partial revelation of light gleaming through the cleavage in the curtains like the secret at the center of a labyrinth. Barthes tells us that “it is a mistake to associate Photography … with the notion of a dark passage (camera obscura). It is camera lucida that we should say”. But the darkened chamber of Barthes’s frontispiece refuses to illustrate his text. If there is a camera lucida in this image it resides beyond the curtains of this scene,or perhaps in the luminous opening at its center, an evocation of the camera’s aperture.

– W. J. T. Mitchell / Picture Theory: Essays on Verbal and Visual Representation (1994), pp.302-303

[sillystrawberryqueen]

Deinde quod obscura de re tam lucida pango

-Lucrezio, il miele della poesia

Poi di un argomento oscuro compongo versi così chiari

[epicstuckyficrecs]

TFA | 20K | Mature

All the times he’d longed for Steve to talk to him that way, to touch him, and it had to be now. He watched as Steve got lost in a sea of men, the wave carrying him along. Below them the artillery was making its way up through the valley as the 107th, swollen with fresh replacements, tore through the Germans’ territory, preparing to pound them into oblivion. In a short time, the planes would be lighting those tanks up and turning the forest to toothpicks. Bucky looked at his hand. Maybe I’ll just evaporate, because I’m not supposed to be here. I would have ended up like all those other experiments.

That was such an incredible story!! It made me so emo at times!

[stellahibernis]

Saturday morning fic rec:

Author’s summary:

All the times he’d longed for Steve to talk to him that way, to touch him, and it had to be now. He watched as Steve got lost in a sea of men, the wave carrying him along. Below them the artillery was making its way up through the valley as the 107th, swollen with fresh replacements, tore through the Germans’ territory, preparing to pound them into oblivion. In a short time, the planes would be lighting those tanks up and turning the forest to toothpicks. Bucky looked at his hand. Maybe I’ll just evaporate, because I’m not supposed to be here. I would have ended up like all those other experiments.

Words: 20239, Chapters: 1/1

Fandoms: Captain America (Movies), Marvel Cinematic Universe

Rating: Mature

Warnings: No Archive Warnings Apply

Categories: M/M

Characters: James "Bucky" Barnes, Steve Rogers, Howard Stark, Gabe Jones, Timothy "Dum Dum" Dugan, Jim Morita, Peggy Carter

Relationships: James “Bucky” Barnes/Steve Rogers

Additional Tags: The Tesseract (Marvel), Magical Artifacts, World War II, Period Typical Attitudes, First Kiss, First Time, What's Wrong With Bucky, There Are More Things in Heaven and Earth Than Are Dreamt of in Howard's Philosophy

My notes:

I adore the way Bucky’s journey of despair and coming out of it is depicted, how the many sides of his life make a whole that makes sense. And lovely art too!