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fandomhigh2018-02-15 11:59 am
geniuswithasmartphone) wrote in fandomhigh2018-02-15 11:59 am
Entry tags:
Art, Thursday, Period Three
"I was originally gonna talk about another black photographer today as we learn to develop film," Hardison said as the students came into the darkened art room. There were blackout curtains over every window and a series of red lights were strung around the room for when he turned the overhead light off as well. "But history was made the other day with the unveiling of the Obama portraits. Not only are these the official portrait of our first African-American president and First Lady, but also these are the first official presidential portraits painted by African-American artists. President Obama's portrait was painted by Kehinde Wiley is an established portrait artist, his work had been in demand for over a decade an' recently been featured on Kingdom, that TV show about a black media mogul. Previous subjects of Wiley's have included LL Cool J, Michael Jackson, and Notorious B.I.G, an' he's known for paintin' them in similar poses to fancy historical figures. His work is known for its rich use of color and general homoeroticism, though the latter is missin' from Obama's portrait. Mrs. Obama's portrait was done by Amy Sherald, the first woman to win the Outwin Boochever Portrait Competition, in 2016. Still, she was a relatively obscure artist until she won the commission for this portrait. So, in case anyone tries to say that African-American excellence in art is a thing of the past, y'all can understand that, no, it's still thrivin'."
He passed around two pictures of the portraits, so everyone could see them. Once everyone had had a look, he directed their attention over to the equipment on the tables; he'd set up individual developing stations for everybody. There was a large machine and three large bins filled with chemicals. "Once we start this, I'll be turnin' off the lights an' switchin' on the red ones," he explained. "The chemicals we'll be workin' with are light-sensitive an' even a little bit of light will ruin the pictures y'all took."
Standing behind the machine, he showed them how to thread their film through it, explaining, "This is the enlarger. It's shinin' light through the negatives to produce a larger version of the picture you took. It goes down on this photo-sensitive paper--" he held up a sheet and demonstrated how to fasten it under the lens, "--an' after you adjust the size an' focus, you'll create a positive version of the picture on the paper." Hardison walked over to the light switch, shut off the overhead lights, and then turned on the red ones. Heading back to the machine, he hit the button on the enlarger and then pulled the paper off the base.
"Now it's time to put it into the development bath," he said, letting the paper sink into the chemicals. He gently rocked the tub, trying to get the whole piece submerged at once. "It should stay in the development bin for about a minute or so, until the lines are crisp an' the image clear. But you don't want it to stay too long, so when it's done developin', we take it out of this one--" he used a pair of tongs to gently lift the page out, pinching only a corner, and let it drip for several more seconds before moving it to the next bin. "--an' put it into the stop bath. This stops the development process. You only need to let it stay there for about ten seconds before you move it to the last bath. This is the fixer; it keeps your picture from runnin' or smudgin'. Let it rest in here for about a minute or so, an' then you can hang it up to dry."
And now Hardison was holding a picture of Eliot and Parker in the kitchen of their home, Eliot cooking and Parker laughing, both looking relaxed and happy. "By the time class is over, you should have all your pictures developed an' can pick out the best fifteen to submit."
He passed around two pictures of the portraits, so everyone could see them. Once everyone had had a look, he directed their attention over to the equipment on the tables; he'd set up individual developing stations for everybody. There was a large machine and three large bins filled with chemicals. "Once we start this, I'll be turnin' off the lights an' switchin' on the red ones," he explained. "The chemicals we'll be workin' with are light-sensitive an' even a little bit of light will ruin the pictures y'all took."
Standing behind the machine, he showed them how to thread their film through it, explaining, "This is the enlarger. It's shinin' light through the negatives to produce a larger version of the picture you took. It goes down on this photo-sensitive paper--" he held up a sheet and demonstrated how to fasten it under the lens, "--an' after you adjust the size an' focus, you'll create a positive version of the picture on the paper." Hardison walked over to the light switch, shut off the overhead lights, and then turned on the red ones. Heading back to the machine, he hit the button on the enlarger and then pulled the paper off the base.
"Now it's time to put it into the development bath," he said, letting the paper sink into the chemicals. He gently rocked the tub, trying to get the whole piece submerged at once. "It should stay in the development bin for about a minute or so, until the lines are crisp an' the image clear. But you don't want it to stay too long, so when it's done developin', we take it out of this one--" he used a pair of tongs to gently lift the page out, pinching only a corner, and let it drip for several more seconds before moving it to the next bin. "--an' put it into the stop bath. This stops the development process. You only need to let it stay there for about ten seconds before you move it to the last bath. This is the fixer; it keeps your picture from runnin' or smudgin'. Let it rest in here for about a minute or so, an' then you can hang it up to dry."
And now Hardison was holding a picture of Eliot and Parker in the kitchen of their home, Eliot cooking and Parker laughing, both looking relaxed and happy. "By the time class is over, you should have all your pictures developed an' can pick out the best fifteen to submit."
Re: Share Your Pictures
"It's a high-grade metamorphic rock, in this case created by high-pressure and heat forces exerted on granite," she supplied, "in such a way that it displays a sub-parallel foliation."
She paused and then pointed out a dark band on the stone.
"Biotite, pyroxene, and amphibole. The lighter bands are usually feldspar or quartz. And look, there are even porphyroblasts of garnet visible, here, and here!"
There was another pause, and then she added, "And that's a Pumpkin. And that's a Peridot."
Stupid sneaky finger.
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Re: Share Your Pictures
She paused.
"Ignore that she looks like she's taking a nap. That's acting. Pumpkin is a very good actor."
She was totally napping.
Re: Share Your Pictures
"Being the schist takes a lot of concentration, then?"
Re: Share Your Pictures
Very few people probably had, 'Dot.
Re: Share Your Pictures
If it were any other student than Peridot--and maybe Eric--he'd be suspicious this was all leading to some kind of joke about being 'in deep schist' or something.
Re: Share Your Pictures
"Have you ever tried to be a coarse-grained, layered metamorphic rock that can be split into thin plates?"
'Schist' sounded much cooler.
Re: Share Your Pictures
He knew, Peridot. It was a disappointment to you both.
Re: Share Your Pictures