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American Experience: George Eastman (There are 3 sections)

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George Eastman "The Wizard of Photography" Documentary (Part 1/3)

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Bellringer: View From the Window at Le Gras

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Bellringer: View From the Window at Le Gras

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A Do Now/Bellringer: Let the kids guess what this is.

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The Others (5/11) Movie CLIP - Book of the Dead (2001) HD

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View From the Window at Le Gras Reconstructed 

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View From the Window at Le Gras Reconstructed 

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View from the window at Le Gras reconstruction

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Works with black trashbags as well.

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We heard how dangerous it could get outdoors with all of the traffic-crossings, pollen, UV rays and so on, and so we decided to stay inside and paint our walls with a live stream of the outside world...

Introduction

For those less familiar with such witchcraft, this phenomenon is known as 'camera obscura'...

First decoded by none other than legendary Arabic scientist, Alhazen, the surreal projections of light through a pinhole have been observed across a myriad of generations, eras and cultures.

Using no more than materials essentially considered rubbish, is it astounding to realise this simple manipulation of light we currently bask in is what eventually lead to development of the device currently reshaping the landscape of art: The camera.

For the cowardly like-minded, here is how you can experience your perilous surroundings from the darkness of your comfortable room.

Materials

You will need:

How To

First, lock your doors, kill the lights and block the windows with cardboard as though you are expecting visitors.

Next, using your sharp implements of cutting (I.E. scissors, knife or claws in our case), gouge a hole somewhere in the dead off-center of your cardboard curtain.

And that's it! The sunlight entering through the aperture in your cardboard will now project an inverted image of the treacherous outdoor realm onto your dark walls, floors and ceiling.

CLAWnclusion

Just as your pupil currently projects an inverted image of your dirty computer screen (or LCD if you happen to be part of the smartphone revolution) onto your retina while you read this questionable tutorial, we roll up the catnip and lazily lounge like domestic felines in the achievement of converting our room into a giant eyeball. If we had 35ft film (rather than 35mm) upon the wall, we would perhaps be inside one of the biggest pinhole cameras ever...

In the 15 - 20 minute it takes for our eyes to adjust to the darkness, they become 1 million times more sensitive and we can observe the progression of outside life with nearly as much clarity as a television. Trees blowing the wind, pedestrians crossing roads, cars navigating traffic lights and clouds drifting quietly by.

And if you're really ambitious, you can set up a camera and capture a time-lapse of all of these happenings for future reference:
About the author: Destruction of Cats are an unstoppable feline force of photographers, filmmakers, musicians & writers making art in your alleyways. This article was originally published here.

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How To Convert Your Room Into a Giant Camera Obscura

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We heard how dangerous it could get outdoors with all of the traffic-crossings, pollen, UV rays and so on, and so we decided to stay inside and paint our walls with a live stream of the outside world... For those less familiar with such witchcraft, this phenomenon is known as 'camera obscura'...

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This is for me to talk about the mindset of Victorians, how popular mourning was and some of the practices to deal with grief. Sorry, there's not much information

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See if the students can sit for a portrait using for a 10 second exposure and then a 20 second. This can go on to a minute.

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6:32

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Photoshop

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Shows how this method is being used now for antique photos.

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Technology has given us an incredibly wide-ranging view of modern presidents; chief White House photographer Pete Souza's images of Barack Obama show him in countless locations and situations, from meetings in the Oval Office to candid shots of the president eating ice cream with his daughters on vacation.

The photo archive of Abraham Lincoln, the subject of this week's cover story, is a much smaller set due to the technological limitations of the time; most of the existing photographs of the 16th president are posed portraits, the majority of which only show Lincoln from the chest up-and all are black-and-white.

But TIME commissioned Sanna Dullaway to create a more vibrant document of Lincoln through a series of colorized photographs produced in Photoshop. After removing spots, dust and scratches from archival Lincoln photographs, Dullaway digitally colorizes the files to produce realistic and modern versions of the portraits, which look like they could have been made today.

The 22-year-old Swedish artist began colorizing images in January 2011, when she was listening to the debut album by rock band Rage Against the Machine. The self-titled album's cover art is a black-and-white picture of a self-immolating monk taken by AP photographer Malcolm Browne. "I thought the normally fiery flames looked so dull in black and white, so I...looked for a way to make them come alive," she says. Dullaway colorized the flames, and eventually, the entire picture. She then posted the image on Reddit, and it instantly went viral.

Since that first experiment, Dullaway has continued to colorize a wide range of historical figures, including Albert Einstein, Che Guevara and Teddy Roosevelt, each of which has generated viral buzz online. She's also used the approach on a number of iconic photographs, such as Eddie Adams' harrowing image of a Vietnam police officer the moment before he's about to execute a Vietcong prisoner. In each of these renderings, Dullaway's use of color is subtle and sophisticated-yielding images that maintain the photographic integrity of their originals, while presenting a look at how these photographs may have come out had color photography existed at the time. That nuanced ability to handle color runs in the family; Dullaway's father is painter.

The images take anywhere from 40 minutes to three hours to produce, and for the young artist, it's a way of bringing a contemporary perspective to older works. "History has always been black and white to me, from the World War I soldiers to the 1800s, when ladies wore grand but colorless dresses," Dullaway says. "By colorizing, I watch the photos come alive, and suddenly the people feel more real and history becomes more tangible."

Lincoln is at the heart of her next project, a book of Civil War images rendered in color. "I felt like it was a good place to start because the war is well documented in the Library of Congress and started roughly around the same time the camera was first used commercially," Dullaway says. "And a war offers to chance to cover many subjects at once, and present the events of that time as our eyes would see it today-in color."
Sanna Dullaway is a photo editor based in Sweden. See more of her work here.

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A Vibrant Past: Colorizing the Archives of History

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Technology has given us an incredibly wide-ranging view of modern presidents; chief White House photographer Pete Souza's images of Barack Obama show him in countless locations and situations, from meetings in the Oval Office to candid shots of the president eating ice cream with his daughters on vacation.

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Students take a vintage black and white image that they found online (suggest they use the terms tintype, ambrotype or daguerreotype in search) and follow the tutorial to do the method.

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Ever wanted to add color to your old, vintage, or historical photographs? Load up some old pictures and see how color can be added quickly to any black and white photograph in this simple Photoshop how to.

While many purists simply don't like the look of colorized black and white photographs, the ability to add color to black and white images is as indispensible as it is simple. Read on to see just how easy it can be.

Starting with Grayscale Images

Simply because an image is in black and white doesn't mean that it is a Grayscale image. Once your photograph is open, our first task is checking our Color Mode.

Navigate to Image > Mode > RGB color to set your image to RGB. If it is in Grayscale or some other color mode, Photoshop will convert it for you. Once this is done, you'll be ready to add color to your image.

Using Blending Modes to Add Color

One of the simplest ways to add color to a black and white image is using Blending Modes. But rather than create a dozen layers with individual blending modes, we will create a single layer group with a group blending mode. Here's how to do it:

Press to create a New Layer.

With that New Layer selected, press to group your new layer.

Select your new layer group as shown above, and set your Blending Mode to "Color."

You'll find Blending Modes in the pulldown tab directly under the top of the "Layers" panel. Click to pull it down to set the blending mode of your Group to "Color" as shown above.

Once your group is set to blending mode "Color" reselect your layer and let's check out some ways to add color to our image.

Some Ways to Add Colors to Your Image without Painting

You can now add color into any layer you make inside your new group. The question is, how? Any way you can add color to layers is a way that will work. Let's start with a simple and quicker, but rougher method using the Lasso Tool or even the Pen Tool, if you feel like you've mastered it.

The Lasso and the Pen Tool both do roughly the same thing in this situation. You'll be drawing and outlining shapes, and then filling them with the Bucket Fill or by going to Edit > Fill and using your foreground color. While this method does not give the most refined of results, it can be the fastest. If you wish to take a more hands-on, controlled approach, you'll want to keep reading to see the "painting" method using the Photoshop Brush tool.

Using the Brush Tool to Paint Color into Photographs

If you're not there, return to the group you set to Blending Mode "Color." Navigate to the blank layer you made there and select the Brush Tool in your toolbar.

Press to select the Brush Tool, then right-click in your image to bring up the Brush Tool contextual menu. Select "Soft Round" as shown.

Click the Foreground Color area of your toolbar (as shown above left) to bring up the Color Picker. Stick with colors much duller than you want your image to look like, as they'll brighten up considerably when they're painted on.

Simply mouse over the areas of your image you want to be that color. Be as precise as possible, but feel free to use the eraser tool as needed.

You may find that your color, even though it is dull, appear garish. You can adjust this many different ways.

Reducing the opacity, as shown above, of your layers, can reduce the intensity of your colors and make them more naturalistic.

to add new layers whenever you want to add new colors. Keeping layers separate will give you greater control. And since they are contained within the same group, you'll find they all conform to the same "Color" blending mode.

Zoom in to add details as needed. Minor details, such as the right color of blue in the eyes, can really bring a colorized image to life.

Improve Garish Colors with the Hue/Saturation Tool

It can be all to easy to start working with a color that seems like it'll be the right shade, only to turn out too bright, garrish or ugly. Here's how to adjust it and continue painting.

Paint or find a sample of the color you want to change to better suit your image.

Press to bring up the Hue/Saturation tool.

Adjust Hue, Saturation, and Lightness values until your color suits your image. As you can see above, the garish red has transformed to a more appropriate reddish brown.

Alt + Click on the in your layers panel, beside your active layer inorder to hide all the other layers. Then press the to select the Eyedropper tool. Click your painted swatch once to select the changed color as your foreground color.

Alt + Click the same again to turn all the layers back on. Shortcut key will give you back the Brush Tool and allow you to return to painting like normal. Add as many or as few colors as you feel your image needs, in all the details you care to put in.

And with minimal work and time invested, a black and white image is now full of rich color. Practice with the brush tool, as it is likely the best method for achieving excellent results in colorizing black and white photographs.

Have questions or comments concerning Graphics, Photos, Filetypes, or Photoshop? Send your questions to ericgoodnight@howtogeek.com, and they may be featured in a future How-To Geek Graphics article.

Image Credit: Portait of Thomas Edison, in public domain.

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How To Colorize Black and White Vintage Photographs in Photoshop

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Ever wanted to add color to your old, vintage, or historical photographs? Load up some old pictures and see how color can be added quickly to any black and white photograph in this simple Photoshop how to.

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Project: Faux Tintype Photoshop Project 

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Project: Faux Tintype Photoshop Project 

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Artist that combines old photos into surreal images

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Maggie Taylor received her BA degree in philosophy from Yale University in 1983 and her MFA degree in photography from the University of Florida in 1987. After more than ten years as a still life photographer, she began to use the computer to create her images in 1996. Her work is featured in Adobe Photoshop Master Class: Maggie Taylor’s Landscape of Dreams, published by Adobe Press in 2004; Solutions Beginning with A, Modernbook Editions, Palo Alto, 2007; and Alice’s Adventures in Wonderland, Modernbook Editions, Palo Alto, 2008. Taylor’s images have been exhibited in one-person exhibitions throughout the U.S and abroad and are in numerous public and private collections including The Art Museum, Princeton University; The Fogg Art Museum, Harvard University; Harn Museum of Art, University of Florida; Museum of Fine Arts, Houston, Texas; and The Museum of Photography, Seoul, Korea. In 1996 and 2001, she received State of Florida Individual Artist’s Fellowships. In 2004, she won the Santa Fe Center for Photography’s Project Competition. 2005 she received the Ultimate Eye Foundation Grant. She lives in Gaineville, Florida.

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Project: Maggie Taylor Photoshop Project 

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Project: Maggie Taylor Photoshop Project 

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Colorizing, adding masks, and using brushes

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Reenactment of a widow sitting for a spirit photograh

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Heritage Square 2010 Halloween Tour & Spirit Photography

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Done with Maggie Taylor's work

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Video: Jerry & Maggie: This is not photography 

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Video: Jerry & Maggie: This is not photography 

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Documentary

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Feature length documentary featuring fine art photographers Jerry Uelsmann and his wife Maggie Taylor and their individual yet interwoven stories of artistic struggle that ultimately lead to creative and critical success.

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Links, Assets, Rubric and Tutorial

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Victorian Spirit Photography 2 - Seances, Mediums and Ectoplasm - Ghosts I - 1

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Sun Prints: Cameraless Photographs (Education at the Getty)

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Learn about the sun print or cyanotype, an early technique for making photographs without a camera.

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Project: Double Exposure 'Ghost Images" 

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Project: Double Exposure 'Ghost Images" 

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This was a field trip option. We went to a graveyard and the students paired up. One was the photographer and one the 'ghost'. Double Exposures that got put together in Photoshop. I made sure to have a parent permission form just in case a student wanted to opt out due to a recent death of a family member.

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How To Take A Double Exposure With A Digital SLR :: Digital Photo Secrets

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The new layer is where you will place the image you want on top of the first one. Photoshop will prompt you with a few options for your top layer. The only thing you need to change is the opacity. I chose 50% as a starting value.