Wish I could find their archive online?
Archive for September, 2009
Through out this archive from time to time you will notice still life’s I’ve done using Xerox’s or my AcerScan 620UT. The Xerox above is a self-portrait from mid 1970’s. Here is a current link I’ve found of other artist using scanners.
Scannography The Art of Scanning
Robert Creamer is another photographer I enjoy! : “The high level of detail in the prints is the result of the scanner’s ability to create extremely large digital files of about 500 megabytes. My technique starts with an Epson 1000XL scanner (with the top removed). The subjects are clamped over the scanner surface and tented to achieve the dark black background. After minimal adjustments in Adobe Photoshop, most images are printed using archival inks with an Epson 7600; the larger prints with an Epson 9600.”
Apparently there are a few around Beaverdam Va. Rodney say’s most of them die off early but a few have made it into a mature tree. We are trying to find out how this tropical tree got here (may never find out)?
Ashland (Center of the Universe)
Century old oak tree in Reihl front yard.
This is missing some of orginal because my scanner was too small (an O3 scan of NATIONAL GEOGRAPHIC / JANUARY 2006 / page 76-77).
Project director Bill Saturno and project artist Heather Hurst stumbled on a new way to document the mural that revolutionized how they work.
Originally Bill brought his laptop and Epson scanner into the field because he thought it would be “cool” to scan the fallen fragments and then put them back together on the computer like a puzzle. That would spare the pieces from being handled extensively, necessary if the team had tried to fit the actual fragments together.
But Bill and Heather faced another challenge: taking decent photographs of the murals. There were numerous problems with standard photography: keeping the camera a constant distance from the surface; preventing the heat of the camera’s lights from damaging the mural; and photographing parts of it from oblique angles.
In a eureka moment, Bill put his flatbed scanner to the wall and made a beautiful, clean 8.5×11-inch scan. Because the scanner was compact, was a fixed distance from the mural, and had its own light source and no heat, this was an ideal solution.
The quality of the images impressed them: The scans are 400 dpi, 40 megabyte images. Bill can’t think of any other comparable ancient works of art with such a detailed digital replica. And they allowed Heather to make short work of producing a scaled-down reconstruction of the artwork. The project would ordinarily have taken two or three years, but she was done in months. Once Bill scanned a section of the mural, he stitched the images together. Then Heather reduced them by 50 percent, printed and traced them, and refined the images by comparing them to the original scans.
—Taryn L. Salinas
Special to the Harvard News Office
Thursday, March 20, 2008
In March 2001, Bill Saturno, a newly minted Harvard Ph.D., was in Guatemala searching for recently uncovered hieroglyphics as a research associate of the Peabody Museum. It turned out that his guides were overbooked and his planned expedition had to be canceled. As a sort of consolation prize, the company offered Saturno a three-hour Land Rover ride to San Bartolo in the Peten jungle, an area unexplored by archaeologists, to take a look at a Maya pyramid. Three hours turned into an overnight stay, then an arduous eight-hour hike in 100-degree heat to the pyramid.
Saturno took shelter in a trench dug by looters and trained his flashlight on the wall, exposing a small section of an ancient mural depicting the maize god, a principal figure in the Maya creation myth.
He knew he had found something important: The only other known complete Maya mural was the Bonampak mural, which dates from 800 A.D. and depicts a military scene. He hastened back to Cambridge with photographs, and then he and his colleagues at the Peabody scrambled to get emergency funds to seal the site and guard it until studies could begin.
On March 11, 2008, Saturno left his tent in San Bartolo, where he lives with his wife and three sons during the three-month fieldwork season, took a seven-hour Jeep ride overland to Flores, Guatemala, a plane to Guatemala City, then two more planes, and was in Boston by 1 a.m. on March 13. Saturno arrived at Harvard’s Yenching Institute later that day in time to deliver a talk that evening to launch the new exhibit at the Peabody Museum, “Storied Walls: Murals of the Americas.”
The mural is in an odd room with an unknown purpose, 4 meters wide and 9.5 meters long, with five doorways open to the outdoors, and attached to the back of a large pyramid. Perhaps it is a backdrop for a ceremony. It depicts a transfer of power from an avian deity to the maize god. The principal bird deity is seen four times, at the four corners of the world, receiving a sacrifice each time, and losing power with each sacrifice. The sacrificial victims — a deer, a turkey — are remarkably realistic, as are the fountains of blood from the humans’ ritual cutting. At the end of the picture story, the bird is defeated and the maize god is victorious. “It is,” Saturno says, “a divine charter for kingship.” It is similar to the Popul Vuh, the Maya sacred book of the 16th century, but it dates from 100 B.C.
There are still tens of thousands of fragments of painting to study at San Bartolo, says Saturno. There is another mural, with fine detail. In addition, in 2006, a piece of early writing was found at the site (Science, March 2006) in deposits securely dated to 300 to 200 B.C. It is unlike Mayan writing found anywhere else.
Saturno’s discovery has reset the clock on Maya culture and writing, and there is more to come. As Saturno said in concluding his talk, “There are more storied walls in the near future.”
“I thought about it,” Saturno said, “and then I thought — I knew how to excavate using tunnels. I knew the archaeological illustrator, the importance of conservation; I had the tools to interpret the mural. I had a team from my thesis days in Copán to work jointly on this. Few people could have walked in and known what to do. I was not conscious of all I had learned, until I found this and had to deal with it.”
The shamans told Saturno that they dream of him, and they dream that he will find many more things.
The exhibit gives equal attention to four different murals and their contexts, sites that have long been studied and supported by the Peabody Museum: San Bartolo, Guatemala; Bonampak, Mexico; the ancient Hopi pueblo of Awatovi in Arizona; and the northern coast of Peru. Sam Tager, the designer of the exhibit, has assigned the wall of each section its own color (red oxide for San Bartolo).
“We wanted to have an exhibition about the pre-Columbian world that visitors don’t usually see,” explains Jeffrey Quilter, deputy director of curatorial affairs. “It is very difficult to access murals because they are mostly in situ. New technology for recording and examining the murals and replicating them is now feasible to do in an accurate and interesting way.”
For example, the Bonampak mural, one of the most magnificent artistic creations in the Americas, is shown in several versions, the latest painted in 2004 after infrared photography revealed new detail.
“It’s Peabody research in action, ” says Pamela Gerardi, the Peabody’s director of external relations. “Each of the four sections had its own curator. What binds the choice of subjects is Peabody involvement.”
“Not only is the Mayan pyramid at Chichén Itzá one of the greatest surviving monuments of the Mayan civilisation, but it also captures the light in a unique way when it’s solstice or equinox time.
Not quite ruler of an empire, Chichén Itzá became, for a time, the pivot of the lowland Maya world. The Temple of Kukulkan (for the Feathered Serpent God, also known as Quetzalcoatl) is the largest and most important ceremonial structure at the site. This 90-foot-high pyramid is a storehouse of information on the Mayan calendar and is cleverly positioned to mark the solstices and equinoxes.
At sunset on both the vernal and autumnal equinoxes, an interplay between the sun’s light and the edges of the stepped terraces on the pyramid creates a fascinating – and very brief – shadow display upon the sides of the northern stairway. A serrated line of seven interlocking triangles gives the impression of a long tail leading downward to the stone head of the serpent Kukulkan, at the base of the stairway.”
When I quit drinking Beer everyday about 8 years ago, I’d get horrible heart burn after dinner everynight. My first cure was Northern Neck ginger ale that at the time had real ginger and cane sugar. It’s uncertain what’s in the recipe now since this wonderful prohibition era family business has been bought out and changed (they were probably worried because this drink use to be WAY better than Canada Dry). I also had a good friend on chemotherapy that told me thanks, that crystalized ginger had worked better than the 20 dollar pill for nausea. I really can’t say enough good things about ginger!
“Ginger, the underground stem, or rhizome, of the plant Zingiber officinale has been used as a medicine in Asian, Indian, and Arabic herbal traditions since ancient times. In China, for example, ginger has been used to aid digestion and treat stomach upset, diarrhea, and nausea for more than 2,000 years. Ginger has also been used to help treat arthritis, colic, diarrhea, and heart conditions. In addition to these medicinal uses, ginger continues to be valued around the world as an important cooking spice and is believed to help treat the common cold, flu-like symptoms, headaches, and even painful menstrual periods. Native to Asia where its use as a culinary spice spans at least 4,400 years, ginger grows in fertile, moist, tropical soil.”
Mexico – 1906 photo : Agustin Victor Casasola
Fondo Nacho López
Nacho Lopez was born in Tampico, Tamaulipas, Mexico in 1923. Lopez studied at the Instituto de Artes y Ciencias Cinematográficas from 1945-1947 and like so many others, was taught photography by Manuel Álvarez Bravo. In 1948, he had his first solo exhibition in Venezuela, and he was later published in various Mexican magazines including Mañana, Hoy, Siempre and Unomásuno.
Lopez had aspirations to be a movie producer / director during the golden age of Mexican film, but those dreams never materialized. Instead, he used photojournalism to illustrate his script ideas. He has been credited as the first person in Mexico to create a photographic series.
During the 1950s, Lopez produced many photo essays. One of his most famous is called La Venus se fue de juerga (Venus has gone on a spree), which follows a man carrying an unclothed mannequin all over Mexico City. During his career, he taught photography and also worked at the National Indigenist Institute. Nacho Lopez died in Mexico City in 1986. The Wittliff Gallery is delighted to own eight of his original images so far.
SOURCE Yo, el ciudadano by Nacho Lopez (Fondo de Cultura Económica,1984), Aperture no. 153 (Aperture, 1998)