View allAll Photos Tagged selenium
Jane Hammond
"October First (Mom’s Birthday)" 2005
Selenium toned silver gelatin print, 14 x 11 inches
Jane Hammond
"Little Country Doctor" 2006
Selenium toned silver gelatin print, 11 x 14 inches
Chema Madoz
"Dreaming of Images" n.d.
Gelatin silver print, 23 5/8 x 19 5/8 inches
Marcel Duchamp
"Female Fig Leaf" 1951
Hand=painted plaster, 3 1/2 x 5 1/2 x 4 7/8 inches
Man Ray
"Female Abstraction" 1941
Pen and ink on paper, 12 x 10 ¾ inches
Man Ray
"The Bicycle" 1950
Watercolor, pen and india ink over pencil on paper
30 1/3 x 40 1/3 cm
Tom Wesselmann
"Study for Helen" 1966
Liquitex on paper, 18 x 25 ½ inches
www.francisnaumann.com/EXHIBITIONS/VV/index.html
“THE VISIBLE VAGINA”
FRANCIS M. NAUMANN FINE ART
and DAVID NOLAN GALLERY
January 28 – March 20, 2010
Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art
Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery
THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.
As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.
The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.
The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.
PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
Jane Hammond
"October First (Mom’s Birthday)" 2005
Selenium toned silver gelatin print, 14 x 11 inches
Jane Hammond
"Little Country Doctor" 2006
Selenium toned silver gelatin print, 11 x 14 inches
Chema Madoz
"Dreaming of Images" n.d.
Gelatin silver print, 23 5/8 x 19 5/8 inches
Marcel Duchamp
"Female Fig Leaf" 1951
Hand=painted plaster, 3 1/2 x 5 1/2 x 4 7/8 inches
Man Ray
"Female Abstraction" 1941
Pen and ink on paper, 12 x 10 ¾ inches
www.francisnaumann.com/EXHIBITIONS/VV/index.html
“THE VISIBLE VAGINA”
FRANCIS M. NAUMANN FINE ART
and DAVID NOLAN GALLERY
January 28 – March 20, 2010
Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art
Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery
THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.
As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.
The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.
The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.
PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
Black and White edit of this summit morning image, emphasizing the way it felt. Even though the sun was out, there was ice inside and outside the tent and 23F on my little thermometer in the tent.14,500 feet, the highest tent in the lower 48 states that morning.
Another well-built little scale-focusing 35mm camera from Zeiss. The Contina series ran from about 1951 to 1960 with more than a dozen models/variations. This one has a slower f/3.5 Novar lens, but sports a (still working) uncoupled selenium cell light meter.
Bought this one in a thrift store. It was in amazingly clean and functional condition; a sign that it had not been used much or cared for exceptionally well.
Recording Month Two:
Vital stats
Mother's age: 32
Height: 5'3"
Weight: 131.4 lbs
Body Fat: 29%
Symptoms:
Positive HCG test
Dizzy
Sleepy
Raised body tempurature
Nausea, but not too bad
Feels like a pinky finger is gently poking the inside of my lower left abdomen
Nasal congestion
Prefer sweet and cold food. Cooked, steaming or fragrant food is unappealing. Eating "children's food" (i.e. cold sandwiches and milk)
Taking:
Throxine for underactive thyroid
Pre-natal vitamin
Omega-3 Fish Oil
Extra calcium, choline
Precautionary prometrium 200 mg
Baby's age 9 weeks
Est. due date: June 15, 2008
Minolta Hi-Matic AF2; color film
Lith printed on Slavich Unibrom grade 4 paper, toned in selenium 1:4 ratio.
World War II monument in Negotino, Macedonia.
Explored
[Re-uploaded after accidental deletion!]
See also: www.flickr.com/photos/monz/2043463420/
My three German friends are (left to right):
1. Zeiss Ikon Super Ikonta 533/16 with 80mm coated Opton T* Tessar lens; classic medium format folding camera; it produces 6x6cm negatives. Note the leather bellows. It was last available new in 1954. Weight 1.4kg. More information at...
www.lumieresenboite.com/collection2.php?l=2&c=Zeiss_I...
2. Leica M6 Wetzlar with 35mm Carl Zeiss Biogon lens. A classic 35mm rangefinder camera which was available new from 1984 to 1998. This one is clothed in a Luigi leather case. More information at...
www.cameraquest.com/mguide.htm
3. Rolleiflex 2.8F Twin Lens Reflex (TLR) with 80mm Xenotar taking lens; produces 6x6cm medium format negatives. It was last available new in 1978 (UK). Weight 1.2kg. More information at..
www.geocities.com/heidoscop/tlrs2.htm
All are manual, mechanical film cameras with only one battery between them (in the M6 to power the light meter)! The light meters in the Super Ikonta and Rolleiflex don't need batteries. Also, no moving mirrors anywhere :-)
[Taken with a Canon 350D with Sigma 18-55mm f2.8 EX lens]
view large
Holga 20N, Tri-X in Tanol
Selenium toner - the mode of action with papers like Fotokemika Varycon or Adox Vario Classic - tone cools down with increase of density
Left untoned, developer VGT as a two tray: first dev. A 50 + C 90 + water 800ml 1:45 mins, second dev. B 40 + C 40 + water 1000ml 2 mins
Right toned with MT1 Selenium 1+5 1 min - against my usual practice, just for demonstration a very strong selenium toner
Duke Energy - Progress Energy Carolinas coal burning power plant with coal ash ponds at Lake Julian in Arden, North Carolina - © 2013 David Oppenheimer - Performance Impressions Photography Archives
Very sturdy, simple camera. Came with a Prontor SLK Spezial shutter, speeds from 1 to the 1/300 + B. The lens is a coated Pantar 45mm f/2.8. A Selenium cell is coupled to the aperture ring.
This example's shutter fired fine in the store, a couple times at home and then it decided to miss-fire. The shutter goes off while winding. (sigh) Oh, well, it'll look good on the shelf till I can putter with it's repair.
[7/28/14 NOTE: Removed permanently from collection]
Sangamo Weston light meter, selenium cell. Measures incident as well as reflected light. I used to drive past the factory on the Great Cambridge Road in the early 1970s; don't expect it's there now as this sort of British industry has withered away unfortunately (unlike the State). Still, we have lots of bankers...
(CC BY-SA which means anyone can use any size of this image anywhere provided accompanied by the credit: Images George Rex)
Metrawatt Leica-METER MC.
Here a drawing of the electrical circuitry.
Not 100% accurate because i should have drawn variable current sources instead of the variable voltage sources but i find that the voltage source symbol makes for easier understanding.
Also the connection of the optional Booster Cell is pictured.
The meters Selenium cell has indeed 1 positive pole and 2 negative poles. So when in dark situations a second part of the Cell can be activated by a switch.
Color codes :
BK = Black
BN = Brown
GN = Green
RD = Red
YE = Yellow
Update 01-June-2012 : DC Resistance of the Coil about 2900 Ohm
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Vandyke print 21x21cm on Velin Arches ∞
Exposure 9 minutes
water and clearing bath (citric acid about 03% sol.)
fixed in Selenium toner 1+100 2,5 minutes
short wash - EDTA/Sulfite clearing bath 5mins - wash 15 minutes
MT10 Gold toner 4 minutes
silver gelatin print
watercolor paper coated with Rollei Black Magic liquid emulsion
sepia & selenium toned
Taken at Photostock 2012, Hasselblad 250mm, Acros, printed on Ilford Warmtone with sepia+selenium toning
Converted in Perfect Effects 17 using my favorite preset: Ansel Adams. It automatically adds a selenium tone and a vignette as well as a particular array of color channel adjustments.
This is Weston Woods as you have never seen it.
I have sought to get a dreamy feel to this image in photoshop and then adding a gentle amount of the digital equivalent of Selenium toning. This effect ( but much better) used to be achieved in the darkroom in a process called lith printing. I have then framed it digitally.
Selenium meter cells surround the F2.8 45mm Industar-63 lens. This classic 1960's 35mm film camera was the first fully automatic camera produced in the former Soviet Union.
Shot using 55mm F2.8 Micro Nikkor lens on FTZ adaptor
silver gelatin print
Fabriano Pittura acryllic paper coated with Rollei Black Magic liquid emulsion
sepia & selenium toned
Unfolded Kodak Retina IIIc rangefinder with 50mm Schneider-Kreuznach Xenon f/2 standard lens and original Kodak bayonet mount plastic lens shade. Of course one can no longer fold the lens with the hood on. This is a somewhat fussy camera: one has to return the focus to infinity and press the two buttons on the lens housing in order to fold the lens back into the body. But it's a very neat and well executed construction that still works flawlessly more than 50 years after leaving the factory.
Shot with Alpa 10d and 50mm Kern Macro Switar f/1.8 at f/11, 1 sec on Agfa Vista ISO-200 film. Composite of two frames with Helicon Focus stacking software for increased DOF.
Coal companies frequently tout the benefits of reclamation and claim their practices protect and restore water quality. The red-stained water seen below this "reclaimed" mountaintop removal mine in Magoffin County, Kentucky, tells a very different story. Red water like this results from high iron levels, which in turn are an indicator of a plethora of other heavy and toxic metals like selenium, mercury and manganese.
Photo by Matt Wasson, Appalachian Voices. April 18th, 2010.
Koden Lightmeter.
Selenium lightmeter produced in Japan. My guess somewhere in the 1950's or 1960's.
Front side view.
Picked this selenium cell light meter up from eBay for a few quid - with a view to using it with my Mamiya. The cell still seems to work okay, the only problem is I haven't got a clue how to read it... any one any ideas?
Obviously I know to set the ASA of the film in the centre, then the inner ring rotates around - and I guess I have to line something up with the needle... but I don't know what.
UPDATE: I now know the secret! Check out the manual here: www.flickr.com/photos/fwump/3797788562/
(No Photoshop involved. "Traditional" film photography and printing in the dark room)
This is a long exposure (about 12 minutes) using TMax 100 film, a ND filter (8 f/stops down) and a red filter.
This shot was taken with a Mamiya c220, with 55mm lens. Aperture was f/32, to get a maximum depth of field.
I got up early (4:30AM) in the morning to be at the seaside at the appropriate moment (around 7:00AM), when the tide is high and the morning light still delicate.
Development details :
Developed in TMax developer diluted 1+4, 6min15sec at 24°C
Printing details :
Printed on Ilford MGWT FB paper. (shiny surface). Grade used was mostly #5. Developer was Eukobrom.
Toning details :
Toned in a special mixture made of alkaline water, new viradon & selenium to warm the mid-tones to a subtle brown while keeping the shadows dark (thanks to the selenium).
Then wash in a sodium sulfide solution to stop the action of this toner mixture and prevent staining of the paper by the viradon.
Eventually the sky only was slightly toned in a gold toner to add pinkish notes in the highlights (sunrise).
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Lightmeter Parts Box 2
Lighmeter Honeycomb and selenium cell parts in this tin box which originally held Will's Gold Flake Cigarettes.
'DRP'
This photograph features an amazing DRP (Direct Reduction Plant) tower at the steel factory. If you ask me, it looks like a rocket launch pad - it's approx 90m tall, insanely complex structure with an absolutely awe inspiring, menacing presence. With all mist, steel beams and hundreds of glowing lights, it also makes one incredibly photogenic subject.
Here's the wikipedia link which explains Direct Reduced Iron, the product of DRP tower. en.wikipedia.org/wiki/Direct_reduced_iron
tech: I took this shot at dawn with Canon 5D Mk2 + Canon TS-E 17mm f4.0L lens and Promote Remote Control for 7-stop HDR bracketing. I used Oloneo PhotoEngine Pro to create a tonemapped image and exported it as 16-bpp TIFF file to Photoshop for futher processing.
I had to create a highly detailed, hand-painted mask to isolate the sky from the DRP tower because I wanted to add a bit of motion blur to the clouds which wasn't present in the RAW file. BW conversion was accomplished with Silver Efex Pro with Blue filter and Selenium toning. Final image with a mix of the original, coloured HDR image + BW image with approx 30/70 blending ratio.
Playing around with Silver Effects 2, thought I'd try another variation of this shot.
Selenium is used to intensify and extend the tonal range of black-and-white images.
The honeycomb structure is a dramatic focal point of the building that responds to several significant design and engineering challenges. The pattern was inspired by the fundamental building block of nanotechnology – the intrinsically stable hexagonal carbon structure of graphene.
Taken during Thursday's UWPC meet.