How to Photograph Work for 3D Materials and Concepts Class

DO I NEED AN EXPENSIVE CAMERA?

• No. Since I am asking you to upload a digital photo to your blog, you are able to use your phone camera. If you do not access to a camera phone, see me. 
• Be prepared to spend a few minutes adjusting lighting and cropping image either on your phone or in computer. 

BEFORE YOU BEGIN

• Check the assignment guidelines for each assignment to see what type and how many photos you need for each project. 

WHERE DO I PHOTOGRAPH THE WORK?

• Use the photo studio, upstairs, to photograph your work for this class. 
• Around mid-term I will take the class upstairs for a quick visit to the photo studio so everyone is aware the studio is located. 

HOW DO I GAIN ACCESS TO THE PHOTO STUDIO

• You will need to make a reservation and check out the key from Professor Jason Schwab. 
• I will send a document with the reservation link and guidelines to your email. 
• The document will also be posted in Studio-3, underneath the clock. 
• Note: Your student ID will not open the door to the studio. 

HOW DO I SET UP MY WORK IN THE PHOTO STUDIO

• See images below on how to set up. 
• When you arrive to the studio, the table should be tucked in a corner and the lights will be unplugged, with the cord wrapped around the light stand.
• The placement of the lights should be close to what you see below. You will have to slightly adjust placement and angle of lights depending on what you are photographing. Keep lights aligned (or close to) the two front corners of the table. 

WHEN PHOTOGRAPHING

• You do not want shadows. 
• You should not see glare spots/reflections on the white background in the final photo. Adjust the lights as needed until there is no glare/reflection
• Make sure to take more images than you think you need. 
• Turn work around to get images of all sides/angles. 
• Disassemble pieces when able to show how work was constructed and/or hidden details. 

EDITING PHOTOGRAPHS

• Crop if needed. The artwork should not be surrounded by a large amount of space. However, there should be a decent amount of space around the artwork - the artwork should not be crowded in the frame. 
• Adjust lighting if images are too dark. You can do this on your phone or on your computer. Be careful when adjusting that you do not change the actual color of the artwork. 
• Look at student examples for each assignment to get an idea on how images should appear with regard to the qualities discussed above. 
• See examples below regarding editing. 

Examples of what you DO NOT want:

https://foundations3ddesign.blogspot.com/search/label/How%20to%20Not%20Photograph%20Your%20Work

This video offers helpful tips. 

.   
     Original Image                                            Edited Image - This is the image you want. 

Left - Original image - a bit dark and too much space around the artwork. 

Right - Edited Image - cropped and exposure increased a bit in editing mode. You can edit without software. When you open image on your desktop, you are in "preview" mode. Go to "tools" in top menu and select "adjust color". 

    Original Image                                              Edited Image - This is the image you want. 

Left - a bit dark and need to eliminate the upper right corner. 

Right - Edited Image - cropped and exposure increased a bit in editing mode. You can edit without software. When you open image on your desktop, you are in "preview" mode. Go to "tools" in top menu and select "adjust color". 

Make sure to use a white background. 

Black absorbs light, making it difficult to 

get bright exposure.

Map Relief Resources

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Map Relief, In Process, Student Work

Paper Folding, Christian

Foam blocks cut with scissors, Michelle

Paper Cutting, Heather

Windsor Newton Inks on Foam Board, Tyler

Pink

I don't have source for this artifact. 

However, the video below shows another textile and offers a source. 

The Josef Kohout/Wilhelm Kroepfl Collection 

United States Holocaust Memorial

You Tube

1920, Paper Doll Baby Bobby.

Winterthur Museum and Library

The march toward gender-specific clothes was neither linear nor rapid. Pink and blue arrived, along with other pastels, as colors for babies in the mid-19th century, yet the two colors were not promoted as gender signifiers until just before World War I—and even then, it took time for popular culture to sort things out.In 1927, Time magazine printed a chart showing sex-appropriate colors for girls and boys according to leading U.S. stores. In Boston, Filene’s told parents to dress boys in pink. So did Best & Co. in New York City, Halle’s in Cleveland and Marshall Field in Chicago.

Today’s color dictate wasn’t established until the 1940s, as a result of Americans’ preferences as interpreted by manufacturers and retailers. “It could have gone the other way,” Paoletti says.

So the baby boomers were raised in gender-specific clothing. Boys dressed like their fathers, girls like their mothers. Girls had to wear dresses to school, though unadorned styles and tomboy play clothes were acceptable. 

Above text source smithsonianmag.com. Go to link to read full article.

Yellow

Lascaux Cave, Yellow Ochre

Paintings inside Tomb, Ancient Egypt, 15th century BC

Yellow Badges, Jews required to wear in Nazi-occupied Europe.

Read about it here, Holocaust Encyclopedia.

Bermuda Buttercup

Yellow Ochre quarry in France.

Yellow School Bus

Serene Ng, Artist

source link here

Mona Waterhouse, Artist

Marco Tirelli, Artist

Marco Tirelli grew up at the Swiss Institute in Rome, surrounded by visiting scholars and artists. His father was the manager and he family lived there (at the Institutes’s 19th Century Villa Maraini) in an apartment. His talent as a draftman took little time to show and he was already assigned a studio at the Villa Maraini at the age of 15.

Living at the Villa Maraini was a strong influence on his personal and artistic development : “So I’m a rather strange Roman,” he said. “I grew up here, but I never felt entirely part of it. And this has had a big effect on my work because I’ve always sensed a tension between places, real places, and what lies unseen beyond.”

Tirelli studied set design with Totj Scialoja at the Fine Arts Academy in Rome and he is an admirer of theatrical designer Adolphe Appia, whose work is echoed by Tirelli’s geometric and dramatic painting.

The metaphysical visions of the artist are expressed in a wide variety of styles and media: from paintings of geometric objects with dramatic lighting and contrasts, to drawings and sketches, to tiny sculptures of scenes. A collection of his work has been presented at the 2013 Art Biennale of Venice.

Barbara Rose wrote in her column in the Wall Street Journal: “An accomplished painter, sculptor and draftsman, Mr. Tirelli treats the theme of memory in a precise and evocative manner. Drawings of the images he uses in his metaphysical abstract paintings alternate with three-dimensional maquettes of imaginary buildings that suggest a metaphysical time and place.”

source link here

Louise Nevelson, b. 1899 Ukraine, d. 1988 New York City

Selerdor Designs

source link here

Beatus Map, 1109

This world map comes from a beautifully illuminated copy of Beatus of Liébana's ‘Commentary on the Apocalypse of St John’, a religious text from the 8th century held in high esteem by medieval Christians. This copy was made at the Spanish Monastery of San Domingo de Silos in 1106, a time when the monastery’s scriptorium was producing some of its finest work.

Adam and Eve are shown with the serpent against a dark green background representing the verdant Garden of Eden.

Its picture of a world centred round the Mediterranean Sea is virtually unchanged since the 8th century and reflects an even older world-view inherited from Roman times. Beyond the Red Sea is a hint of an undiscovered fourth continent that some ancient thinkers - among them, Pliny, the 1st-century Roman author - had suggested must exist in order to balance the known land masses of Europe, Asia and Africa.

Relief Map

Source Unknown.

Please e-mail lmongiovi@flagler.edu if you can provide source. 

The History of Cartography by Harley and Woodward

AN ITALIAN CHART IN THE CATALAN STYLE. Made in 1482 by Grazioso Benincasa, (...) The repeated coats of arms beneath a cardinal's hat are those of Raffaello Riario, for whom the chart was made. n Size of the original: 71 x 127.5 cm

COSMOGRAPHICAL MAP: THE LAND OF EGYPT WITH THE GODDESS NUT. South is at the top inthis cosmographic representation found on the cover of a stone sarcophagus from Saqqara. It dates from the Thirtieth Dynasty, ca. 350 B.C. Diameter of the interior circle: 72 cm. The god of the air, Shu, can be seen below the stars, above the circular earth. 

RECONSTRUCTION OF THE SHIELD OF ACHILLES FROM HOMER'S ILIAD. 

After Malcolm M. Willcock, A Companion to the lliad (Chicago: University of Chicago Press, 1976)

A visualization of the shield of Achilles, described in Homer's Iliad. It is thought to represent a type of cosmographical chart,

bringing together elements of the natural and human world, although not in a spatial relationship. 

Drawn by the Majorcan Gabriel de Valseca in 1447, this style is midway between the two extremes of Catalan flamboyance and Italian austerity. Flags, town vignettes, and wind disks are typically Catalan, the lack of inland detail typically Italian. Size of the original: 59 x 94 cm. 

COMPOSITE PETROGLYPH MAP FROM BEDOLINA, VALCAMONICA. (North Italy) The earlier figures and later additions have been removed to reveal a complex topographical map.

imaginarymuseum.org

Ptolemaic World Map

sanderusmaps.com