Friday, September 07, 2007

welcome back!

It was wonderful seeing everyone at docent training this week.  Please let Heide and I know how the tour outline works for you and if any other questions develop about Mary Randlett’s work.  We look forward to seeing you all bright an early at 9 am on Monday in the Event Space!

 

See you soon,

 

Susan Burnham

Manager of School, Teacher, and Docent Programs

sburnham@TacomaArtMuseum.org

 

TACOMA ART MUSEUM

1701 Pacific Avenue

Tacoma, Washington 98402

T: 253.272.4258 x3038

F: 253.627.1898

www.TacomaArtMuseum.org

Become a Member Today!

 

Wednesday, September 05, 2007

TAM: ticket info for Gee's Bend Quilters program on Sept. 30

Here is the detailed info about obtaining your ticket for the September 30 program with the Gee's Bend quilters.

I am re-sending this for Paula since she received several failed mail responses after she tried to email it to you directly.

 

Thanks for your time!

 

Heide Fernandez-Llamazares

Museum Educator and Docent Coordinator

hllamazares@TacomaArtMuseum.org

 

TACOMA ART MUSEUM

1701 Pacific Avenue

Tacoma, Washington 98402

T: 253.272.4258 x3018

F: 253.627.1898

www.TacomaArtMuseum.org

Become a Member Today!

 

 

Hello Everyone,

I understand that Susan and Heide have communicated with most of you regarding attending the public program with four of the quilters from Gee’s Bend on Sunday afternoon, September 30th as part of your required training.  Given that this will be a very popular program and our event space has very limited capacity, I need to ask for your help.  Tickets for this program are required and are being sold in advance to both members for $5 and to non-members for $15.  We are not charging docents for tickets, BUT please note that you are still required to have a ticket to attend the program. Therefore, I ask that you pick your ticket up at the front desk beginning today, but before September 23rd.  Docent tickets will be in a labeled envelope and any Visitors Services staff person should be able to assist you.  Any tickets set aside for docents that have not been picked up by September 23rd will be released to be sold to members and the general public.  Also, on the back of every ticket, you will see that we have a disclaimer that reads “This ticket will not guarantee entry after 1:45pm.”  So, please be prompt for the 2pm program.  Thank you very much for all you do for the museum, and for your help with this ticketed program.  Please do not hesitate to contact me directly with any questions or concerns you may have.

    

Paula McArdle

Director of Education and Public Programs

TACOMA ART MUSEUM

1701 Pacific Avenue

Tacoma, Washington 98402

T: 253.272.4258 x3026

F: 253.627.1898

www.TacomaArtMuseum.org

pmcardle@TacomaArtMuseum.org

 

Gee's Bend Quilters

Hello Everyone,

I understand that Susan and Heide have communicated with most of you regarding attending the public program with four of the quilters from Gee’s Bend on Sunday afternoon, September 30th as part of your required training.  Given that this will be a very popular program and our event space has very limited capacity, I need to ask for your help.  Tickets for this program are required and are being sold in advance to both members for $5 and to non-members for $15.  We are not charging docents for tickets, BUT please note that you are still required to have a ticket to attend the program. Therefore, I ask that you pick your ticket up at the front desk beginning today, but before September 23rd.  Docent tickets will be in a labeled envelope and any Visitors Services staff person should be able to assist you.  Any tickets set aside for docents that have not been picked up by September 23rd will be released to be sold to members and the general public.  Also, on the back of every ticket, you will see that we have a disclaimer that reads “This ticket will not guarantee entry after 1:45pm.”  So, please be prompt for the 2pm program.  Thank you very much for all you do for the museum, and for your help with this ticketed program.  Please do not hesitate to contact me directly with any questions or concerns you may have.

    

Paula McArdle

Director of Education and Public Programs

TACOMA ART MUSEUM

1701 Pacific Avenue

Tacoma, Washington 98402

T: 253.272.4258 x3026

F: 253.627.1898

www.TacomaArtMuseum.org

pmcardle@TacomaArtMuseum.org

 

TAM: about Denise Levertov

Here is a little info about Denise Levertov, the poet in the Mary Randlett exhibition.

http://www.poets.org/poet.php/prmPID/41

more info on Wikipedia too: http://en.wikipedia.org/wiki/Denise_Levertov


Denise Levertov

http://www.poets.org/poet.php/prmPID/41

Denise Levertov was born in Ilford, Essex, England, on October 24, 1923. Her father, raised a Hasidic Jew, had converted to Christianity while attending university in Germany. By the time Denise was born he had settled in England and become an Anglican parson. Her mother, who was Welsh, read authors such as Willa Cather, Joseph Conrad, Charles Dickens, and Leo Tolstoy aloud to the family. Denise was educated entirely at home, and claimed to have decided to become a writer at the age of five. When she was twelve, she sent some of her poetry to T. S. Eliot, who responded with two pages of "excellent advice," and encouragement to continue writing. At age seventeen she had her first poem published, in Poetry Quarterly.

During World War II, Levertov became a civilian nurse serving in London throughout the bombings. She wrote her first book, The Double Image, while she was between the ages of seventeen and twenty-one. The book, released in 1946, brought her recognition as one of a group poets dubbed the "New Romantics."

In 1947 Levertov married Mitchell Goodman, an American writer, and a year later they moved to America. They settled in New York City, spending summers in Maine. Their son Nickolai was born in 1949. She became a naturalized U. S. citizen in 1956.

After her move to the U.S., Levertov was introduced to the Transcendentalism of Emerson and Thoreau, the formal experimentation of Ezra Pound, and, in particular, the work of William Carlos Williams. Through her husband's friendship with poet Robert Creeley, she became associated with the Black Mountain group of poets, particularly Creeley, Charles Olson, and Robert Duncan, who had formed a short-lived but groundbreaking school in 1933 in North Carolina. Some of her work was published in the 1950s in the Black Mountain Review. Levertov acknowledged these influences, but disclaimed membership in any poetic school. She moved away from the fixed forms of English practice, developing an open, experimental style. With the publication of her first American book, Here and Now (1956), she became an important voice in the American avant-garde. Her poems of the fifties and sixties won her immediate and excited recognition, not just from peers like Creeley and Duncan, but also from the avant garde poets of an earlier generation such as Kenneth Rexroth and William Carlos Williams.

Her next book, With Eyes at the Back of our Heads (1959), established her as one of the great American poets, and her British origins were soon forgotten. She was poetry editor of The Nation magazine in 1961 and from 1963 to 1965. During the 1960's of the Vietnam War, activism and feminism became prominent in her poetry. During this period she produced one of her most memorable works of rage and sadness, The Sorrow Dance (1967), which encompassed her feelings toward the war and the death of her older sister. From 1975 to 1978, she was poetry editor of Mother Jones magazine.

Levertov went on to publish more than twenty volumes of poetry, including Freeing the Dust (1975), which won the Lenore Marshall Poetry Prize. She was also the author of four books of prose, most recently Tesserae (1995), and translator of three volumes of poetry, among them Jean Joubert's Black Iris (1989). From 1982 to 1993, she taught at Stanford University. She spent the last decade of her life in Seattle, Washington, during which time she published Poems 1968-1972 (1987), Breathing the Water (1987), A Door in the Hive (1989), Evening Train (1992), and The Sands of the Well (1996). In December 1997, Denise Levertov died from complications of lymphoma. She was seventy-four. This Great Unknowing: Last Poems was published by New Directions in 1999.


 

 

Heide Fernandez-Llamazares

Museum Educator and Docent Coordinator

hllamazares@TacomaArtMuseum.org

 

TACOMA ART MUSEUM

1701 Pacific Avenue

Tacoma, Washington 98402

T: 253.272.4258 x3018

F: 253.627.1898

www.TacomaArtMuseum.org

Become a Member Today!

 

 

TAM: Mary Randlett "burning in"

During yesterday's short video of Mary Randlett, she used the term "burning in" when referring to developing her photos. Here is some info from Wikipedia about what this means.

 


http://en.wikipedia.org/wiki/Burning-in

Dodging and burning

From Wikipedia, the free encyclopedia

Dodging and burning are terms used in photography for a technique used during the printing process to manipulate the exposure of a selected area(s) on a photographic print, deviating from the rest of the image's exposure. Dodging reduces the exposure for areas of the print that the photographer wishes to be lighter, while burning gives extra exposure to areas of the print that he or she wishes to be darker.

Any material with varying degrees of opacity may be used, as preferred, to cover and/or obscure the desired area for burning or dodging. One may use a transparency with text, designs, patterns, etc., a stencil, or a completely opaque material shaped according to the desired area of burning/dodging.

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two techniques. Adams wrote a comprehensive book on this very topic called The Print.

Many modern digital imaging programs such as Adobe Photoshop have "dodge" and "burn" tools that mimic the effect on digital images.

By using completely opaque material as a cover over the preferred area for dodging or burning, absolutely no light will pass through and as a result, an outline of the material may be visible on the print. One way to prevent obvious cover-up lines is to slightly shake the burning material over the covered area while it is being exposed. Another way to prevent obvious cover-up lines is to use slightly less opaque material closer to the outline to produce a more subtle, faded effect.

Burning

To burn-in a print, the print is first given normal exposure. Next, extra exposure is given to the area or areas that need to be darkened. A card or other opaque object is held between the enlarger lens and the photographic paper in such a way as to allow light to fall only on the portion of the scene to be darkened.

Dodging

A card or other opaque object is held between the enlarger lens and the photographic paper in such a way as to block light from the portion of the scene to be lightened. Since the technique is used with a negative-to-positive process, reducing the amount of light results in a lighter image.

See also


 

 

 

Heide Fernandez-Llamazares

Museum Educator and Docent Coordinator

hllamazares@TacomaArtMuseum.org

 

TACOMA ART MUSEUM

1701 Pacific Avenue

Tacoma, Washington 98402

T: 253.272.4258 x3018

F: 253.627.1898

www.TacomaArtMuseum.org

Become a Member Today!

 

 

TAM: twin-lens cameras

Here's the answer to yesterday's training questions on "what is a twin-lens reflex camera?": http://en.wikipedia.org/wiki/Twin-lens_reflex_camera or see below.

Thanks to Judi Keyser's research!

 

 

Heide Fernandez-Llamazares

Museum Educator and Docent Coordinator

hllamazares@TacomaArtMuseum.org

 

TACOMA ART MUSEUM

1701 Pacific Avenue

Tacoma, Washington 98402

T: 253.272.4258 x3018

F: 253.627.1898

www.TacomaArtMuseum.org

Become a Member Today!

 


From: Judi Keyser [mailto:judi.keyser@gmail.com]
Sent: Tuesday, September 04, 2007 7:42 PM
To: Heide Fernandez-Llamazares
Subject: wikipedia on twin-lens cameras

 

Twin-lens reflex camera

From Wikipedia, the free encyclopedia

The front of a  Kinaflex twin-lens reflex camera

The front of a Kinaflex twin-lens reflex camera

Sketch of an early 20th century twin-lens reflex camera

Sketch of an early 20th century twin-lens reflex camera

Mamiya C220 & Mamiya C330 with typical rollfilm box

Mamiya C220 & Mamiya C330 with typical rollfilm box

1957 Kodak Duaflex IV, an inexpensive fixed-focus TLR

1957 Kodak Duaflex IV, an inexpensive fixed-focus TLR

A twin-lens reflex camera (TLR) is a type of camera with two objective lenses of the same focal length. One of the lenses is the photographic objective (the lens that takes the picture), while the other is used for the waist-level viewfinder system. In addition to the objective, the viewfinder consists of a 45-degree mirror (the reason for the word reflex in the name), a matte focusing screen at the top of the camera, and a pop-up hood surrounding it. The two objectives are connected, so that the focus shown on the focusing screen will be exactly the same as on the film. However, many inexpensive TLRs are fixed-focus models.

Higher-end TLRs may have a pop-up magnifying glass to assist the user in focusing the camera. In addition, many have a "sports finder" consisting of a square hole punched in the back of the pop-up hood, and a knock-out in the front. Photographers can sight through these instead of using the matte screen. This is especially useful in tracking moving subjects such as animals, since the image on the matte screen is reversed left-to-right.

Mamiya's C-Series, introduced in the 60s, the C-3, C-2, C-33, C-22 and the Mamiya C330 and Mamiya C220 are the only conventional TLR cameras to feature truly interchangeable lenses. [1]

Rollei Rolleiflex model TLRs have an additional feature for the "sports finder" that allows precise focusing. When the hinged front hood knock-out is moved to the sports finder position a secondary mirror swings down over the view screen to reflect the image to a secondary magnifier on the back of the hood, just below the direct view cutout. This permits precise focusing while using the sports finder feature. The magnified central image is reversed both top to bottom and left to right.

TLRs are different from single-lens reflex cameras (SLR) in several respects. First, unlike virtually all SLRs, TLRs provide a continuous image on the finder screen. The view does not black out during exposure. Additionally, models with leaf shutters rather than focal-plane shutters can synchronize with flash at higher speeds than can SLRs. However, because the photographer views through one lens but takes the photograph through another, parallax error makes the photograph different from the view on the screen. This difference is negligible when the subject is far away, but is critical for nearby subjects. For accuracy in tabletop photography, in which the subject might be within a foot (30 cm) of the camera, devices are available that move the camera upwards so that the taking lens goes to the exact position that the viewing lens occupied.

A primary advantage of the TLR is its simplicity as compared to the more common single-lens reflex cameras. The SLR must employ some method of blocking light from reaching the film during focusing, either with a focal plane shutter (most common) or with the reflex mirror itself. Both methods add significant noise to the camera's operation. Most TLRs use a leaf shutter in the lens. The only mechanical noise during exposure is from the shutter leaves opening and closing.

The typical TLR is medium format, using 120 roll film with square 6×6 cm images. Presently, the Chinese Seagull and the German Rollei are in production, but in the past, many manufacturers made them. Models with the Mamiya, Minolta and Yashica brands are common on the used-camera market, and many other companies made TLRs that are now classics. The Mamiya C series TLRs had interchangeable lenses, allowing focal lengths from 55mm (wide angle) to 250mm (telephoto) to be used.

There were smaller TLR models, using 127 roll film with square 4×4 cm images, most famous the "Baby" Rolleiflex and the Yashica 44. The TLR style was also popular in the 1950s for inexpensive fixed focus cameras such as the Kodak Duaflex and Argus 75.

The smallest TLR camera is the Swiss made Tessina, using performated 35mm film forming images of 14×21 mm.

Notes

  1. ^ However, the (6×6 cm) Koniflex (from Konica) is a conventional TLR that has a supplementary tele lens, and the (6×7 cm) Koni-Omegaflex (Konica again) can be used as a TLR with an optional finder and has interchangeable lenses.

See also