After many trials of using Light Emulsion, I have to say it is quite difficult, but I believe with more practice, maybe one can truly understand it better.

Experiments:

The above image are trials I had done using Liquid Light.

Proper steps had to be taken so that the object could hold the emulsion:

The cardboard was exposed in 30 seconds interval ending at 90 seconds

The canvas was first exposed to 8 seconds and it was not sucessful, and later was exposed to 30 seconds and then 90 seconds interval ending at 270 seconds

The masonite did not need any adhesion and it was exposed at least 480 seconds

The glasses had to be cleaned with laundry detergent and had to have a layer of Knox unflavored gelatin.  Since, they were smaller and the enlarger was all the way down, it was exposed to 5 seconds.

Final Project: 

As I had stated before, my uncle had created images on wood and what I believed was photography was actually not. After gaining a little more experience on Liquid light, I wanted to test out the emulsion on wood. Though some areas did not get exposed (possibly by the emulsion layers), it came out successful.

Proper steps had to be taken so that the object could hold the emulsion:

The wood had to be cleaned off and at least two layer of glossy polyurethane varnish had to be applied as it would act as an adhesion to the emulsion. Since the wood pieces were small and the enlarger was brought all the way down, each wood piece was exposed to 25 seconds.

Thoughts of mine:

Through experimenting, I have found out you need at least a thick layer of light emulsion, so that the film could be exposed (approximately 4 layers or 2 thick layers). A lot of factors play an important role when using Liquid Light such as the absorption of the object, layering of the emulsion, the drying of the emulsion, and finally the exposing and developing of the image. It was truly a great experience to see how emulsion really works, especially on objects that are not just paper

With this project, I wanted to focus on the importance of color. I first began with using nature’s light, as it created different scenes. When I had taken this picture on Wednesday night, I loved the color it produced.

Since it was taken at night, my digital camera’s flash was used to capture the image. I was inspired to take some pictures in the Darkroom using the safelight as my light source.

PROJECT DESCRIPTION:

 I have always been fascinated with black and white photography; developing our own film and printing them. As a darkroom assistant, I was able to gain the experience of creating such chemicals for the darkrooms. For this project, I would like to experiment with emulsion. I was actually inspired by my uncle, who I believed was experimenting with emulsion as he was able to produce a set of images on wood. Though when I found out that it was not created in such a way, I wanted to see if it was possible. Through the guidance of Takafumi and Ashley, exposing black and white films on different material was possible. With this project, I would like to experiment with the emulsion. I want to see how many coats of emulsion would be needed to expose the image and how does each material react to the emulsion? As I become familiar with this process, I am hoping to end with at least 4 well-produced images.

OUTCOMES:

• I would like to become familiar with Rockland Photographic Emulsion Liquid Light by using different materials
• I will produce 4 images consisting of portraits of my family on wood

METHODS AND MATERIALS:

I would use the darkroom to create this series.

• Rockland Photographic Emulsion Liquid Light
• Brushes to apply the liquid on surface
• Use of Developer, Fixer, and water to process materials
• Cardboard, glasses, canvas, Masonite, and wood would be used for exposing film

REFERENCES:

http://www.alternativephotography.com/wp/processes/liquid-emulsion/the-liquid-emulsion-process

http://www.youtube.com/watch?v=cWCHKB8CsOc

For this project, I wanted to be focus on the importance of color and its influence to its surroundings. With these two images below, I took pictures with my iPhone, using the sky as my lighting. The first image I took was during the cold weather we were experiencing during April. The second image was taken when we finally reached “spring” weather.

For this project, I was deciding on capturing images outside and inside of the studio.

The idea I had for taking pictures outside would focus on the weather and how it effects the surrounding environment. Would colors shift or not? Would they be brighter or muted?

As for images being shot in the studio, I was thinking of using Josef Alber’s Color Theory as an inspiration. I had actually been introduced to Josef Alber’s work at Adelphi, where I had to create my own “Homage of the Square”. For the project, I would like to incorporate his theory through the clothes people wear.

Before the round table brainstorm we were about to have in class, I had realized this project was  similar to my previous work from Photography 2. For the Final Project, I had plan to document Raku Firing, which is something I did before for my Lithography series.

During the brainstorm, some had advised me to stick with my idea and some had advised me to create abstract works of the pieces by capturing certain details.

Currently, due to the weather we are having, the raku firing will take place next week. As for my project, I plan to combine the two ideas, but I am leaning more on shooting pictures of the raku pieces (which I believe will be quite interesting).

Project Description: The theme for this final project will consist of a series, which will focus on Raku Firing. Raku firing is a technique used in Ceramics that only occurs during the spring semester. Raku firing requires the ceramic materials to be fired outside instead of inside as well as cooling down. As a previous student who had taken Ceramics and had gone through Raku Firing, it was definitely an amazing process. Raku firing consists of wedging clay with a certain coarse powder. As it is bisque (“pre-cooked”), we glaze the work with certain glazes. Each student was assigned in different groups as they maintained their station of either putting the pieces in the kiln, placing them in hay, and cooling them down with water. The end result of these pieces were truly amazing, as they differ from other glazes.

I have discover through most of my work, that I create a story with them. Previously, I had created a Lithography series, in which I was able to shoot images of the Lithography studio as it showed students working on their stone, on the press, and materials needed for the process. For Project 1 and 2, I was able to use my brothers as one portrayed the idea of motion and the other as a toy maker. With this project, I hope to create the same atmosphere as well as produced interesting images.

Outcomes:

• To produce a striking series that explains the process of Raku Firing
• To produce images from different perspective (Examples: close ups, general and middle views)
• To produce a series of 4 to 6 images, approximately 8×10 at the Ceramic Studio

Methods and Materials:

• For this project, I would use my digital camera and tripod
• Depending on the type of weather and lighting, the possibility of a reflector may be needed

References:

• Henri Cartier-Bresson
• Duane Michals
• Eadweard Muybridge (http://www.heckscher.org/pages.php?which_page=exhibition_detail&which_exhibition=112&utm_source=April+Monthly+2014&utm_campaign=April+2014+Monthly&utm_medium=email)
• Robert Adams
• Hiroshi Sugimoto
• Christopher Thomas
• Philip Lora Ci Corcia

Example of Raku Firing from Spring 2013

For this project, I became fascinated with Low Key Lighting that I wanted to incorporate it in this project. I had decided to use my older brother for this project. As a child, my brother was fascinated in creating toy models.  I wanted him to relive his fascination of it and his concentration of completing these toy models (I was able to capture these qualities).

For this project, I have been inspired by the article (that was sent to us), “Photographer Creates Lifelike Images of American Streets Using Toy Car Models and Forced Perspective” and Dutch artist,  Johannes Vermeer.

The article introduced the photographer and his works. Perspective was definitely a key factor in creating his work. I love the idea that, which is something I would truly enjoy experimenting with.

As for the Dutch painter of Johannes Vermeer, his sense of lighting in his work is definitely a combination of Rembrandt Lighting and a range of lighting ratios. Vermeer was an artists I was introduced in Fundamentals in 2D  Design. My professor introduced his work by exploring the numerous lines and the values of light he used in his work.

For this project, I would definitely like to play around with the lighting creating different situations. I would like to use Vermeer’s lighting situations and creatively use perspective to my advantage through portraits shots or setups of inanimate objects.

Tabletop lighting focuses on being up close to the object. It seems tabletop lighting is mostly used for commercial purposes as the product needs to be devoid of shadows. As a group, we were able to set up the lights to a 1:1 ratio. The lights consisted of the soft box (key light), the fill light (on the side) and the background light. The background light had to be a little stronger than the other lights as we wanted to create a white background.

The lights were pushed together (side by side)  as we were able to create a scene with objects brought into the studio.

Example:

In the image below, we were also able to play with the position of the lighting. The fill light was brought slightly above the object and with the use of a reflector, we were able to create a soft highlight on the back.

Example: