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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: Talk to Hardison
She didn’t even eat them. She just liked to use the machines.
Re: Talk to Hardison
Hardison was waggling his fingers now. Spookily.
"An' you found yourself...compelled..."
Re: Talk to Hardison
At least Eliot waited until Williams Sonoma had a sale. . . .
Re: Talk to Hardison
Sure, it wasn't for sale, but that had literally never stopped any of them before.
"I just figure any place we're gonna be for awhile, it's probably best if no one pokes their head into places an' pays attention. Besides, there's always the chance it's gonna get blown up."
Hadn't used to be a worry, but losing not one but two bases that way had kind of left an impression.
Re: Talk to Hardison
Re: Talk to Hardison
There was a Spring 2018 catalogue in their living room, Eliot, don't you even pretend.
Re: Talk to Hardison
Eliot shook his head. "At least that long."
Ordering from a store's catalog wasn't the same as "going to" the store.
Re: Talk to Hardison
Re: Talk to Hardison
They had a whole Korean inspired line available now! How was Eliot supposed to resist that?
Re: Talk to Hardison
"Think my point's been made."