surface

These three examples show how the quality of light and shadows changes the appearance of the surfaces of the mountains, tree trunk and glacier.

illumination

The quality and color of the light creates a different illumination in these mountain scenes.

illumination

Photo of a dinosaur neck taken at the Museum of Natural History. The light and shadow on the neck indicate where the source of light is coming from.




















Another image from the Museum of Natural History, a mineral, shows how light can reduce the appearance of surface texture.





















This image was taken looking through the back of a Navy ship.

film and volume

A mineral suspended in resin photographed at the Museum of Natural History. The resin fogs the clarity of the mineral, creating a film.




















A doorway at the Dominus Winery made of green glass creates a film of green over everything seen through it.





















A jellyfish, taken at the California Academy of Sciences, shows volume.

surface

This is a close up of a mineral at the Museum of Natural History. The first is the original image and the second and third are using auto-leveling and auto-color features.

illumination and illuminants

These photographs demonstrate an illumination mode of perception. The candle gives off a warm yellow light to the objects in the immediate surrounding. By contrast, the sky outside gives of a whiter light to the outdoor objects.

This image of the sky shows an orange illuminant quality of light coming from the sun reflecting in the clouds around sunset.

This image shows a the illuminant quality of light coming in a window and mainly touching the curtains.

This is a picture of the blue light given off of a gas stove flame reflecting on various surfaces of the stove and the pan next to it.

Illuminants

Exit sign, by the studio.

Budha with neon halo, candles and hanging lamps.


Wall Sconce, Peels.

Illumination

The Hudson River, shot from a moving train.

Walking home in the evening, Dekalb near Flatbush facing west-ish

Breakfast at Peels. Incandescent light inside, bright morning light outside, white wall.

Balloon Drop, LCD soundsystem show, terminal 5.

Film/Volume

Gin martini, with cucumber on my windowsill in the early evening. (Volume)

Grand Street on a wet night, lit by street lights. (film)

Hors D'Oeuvre wreckage under a dimmed incandescent bulb and candle light. (film)

film& volume

leaves at night


loren in brown-orange-yellow light


glass of water

(a tribute to magritte's L'Empire des Lumieres)

illumination

peaches


baklava day


tina

illumination

9am: surrounding area is bright and clear.

 

2pm: surrounding area is a bit hazy and gray-er.

5pm: just before sunset- surrounding area is lot yellow-er.

FILM/VOLUME

Volume - rocks suspended in slushy ice in the Asquamchewmakee River in New Hampshire. Texture of the ice's surface really affects the perception of the rocks.


Film - Snow falling thickly in New Hampshire. Interesting how the colors of the cars become muted and "grayed out."


Film - foggy day in wetlands in Western Oregon. Again, the few colors in the scene are dull and muted.

Film - foggy day on the Appalachian Trail in New Hampshire. Maybe the fog wasn't very thick, but colors, especially the hemlock timber frame, are more saturated than in the other photos.

ILLUMINATION

Three images from the tremendous Yale Center for British Art. I've arranged them top floor to bottom floor - you can see how Kahn layered natural and artificial light from the massive skylights at the top floor to the nearly cavernous circulation core on the ground floor.

SURFACE

Here's an example of getting more information from the color image - values are similar, but the golden-browns and darker browns in the color image show the viewer the more baked parts of the crust.



I think this shows an example of getting a better feel for texture from the black and white image. By bumping up contrast and converting to b/w, there's less background distraction and greater perceived depth within the moss.