Sometimes the colors’ world can be a kind of cryptic. A lot of numbers, measurements, acronyms tightly bind with discoveries, conventions and physics.
Today we went to visit Steve again, to have a little explanation about how to use the spectrophotometer he lent us but as usually, that became an occasion for a little colors lesson. Of course he taught how to make the zero calibration (3 times toward an open space light) and the white calibration of the instrument and then he passed to explain the meaning of the display’s numbers. D56 refers to the daylight. While, for example, the letter “A” stands for an artificial source of light such as tungsten.
Furthermore: CIE 1931, 2° refers to an experiment the misure the vision angle of people looking to a coin they handle, so at an arm-distance. While the convention CIE 1946, 10° refers to the same experiment but with a bigger coin, so the vision angle is wider.
Then, some other acronyms: if do a measure SCI you’re including the specular light, if it’s SCE you want to exclude it (it’s particularly important for glossy surfaces).
He made also al lot of charts trying talking about amount of reflective lights vs the incident light and at [dunno how] we end talking about phosphorescent and fluorescent material. Basically is a question of time. Fascinating how color can be relating with every sort of aspects! Easily speaking, when the light arrive to an object, this object suddenly reflects just a specific wavelength’s range, that is the colour we can see; and the non-reflected amount of light is converted in other energy: heat. But. Not every surface reflect the wavelength immediately, some delay can occur and, moreover, the late reflection can have a wavelength that is different from the initial one.
So, it’s the lazy, latecomer light that makes the stars stickers on my room ceiling bright at night.
“I love towns, they’re like friends to me. When I haven’t seen them for some time, I miss them ad I want to see them again to find out if they’ve changed.”
A barge on the Aire&Calder navigation approaching the Skelton Grange Power Station
The Rag and the Bone Man, Burmantofts
East Grove Street, Burmantofts
The sewing room, burton’s factory, hudson road
The pressing Department, Burton’s factory, Hudson Road
Haze over Burley, Westfield Crescent
Kirkstall Power Station, from Bankfield Road, Kirkstall, 1954
Eldon Terrace, Woodhouse Lane, 2004
City Square, 2004
Bus on Boar Lane, 2004
Bankfield Road, Kirkstall, 2004
And that’s exactly what he did. In a inspiring way.
The young Marc Riboud, following Robert Capa’s suggestion, first met Leeds in 1954, to makes pictures of it for the Picture Post. At that time, the magazine were publishing a series of pictures entitled “The best and the worst of English cities” an Leeds was the only town that left. 50 years after, in 2004, Marc Riboud, now a famous Magnun photographer, came back to Leeds to re-photograph it. So they became a book and a exhibition.
But it found difficult to duplicate his earlier photograph.
The city’s been growing and changing. And now, after only 10 years since his last visit, what could he find?
But nowadays anyone has a camera. The knowledge is share and spread.
What if anyone could try this experience? And hunt for those “lasting moments”?
“In the early Seventies Leeds had thirteen mills. In 1980, only six firms are listed in the Leeds directories as manufactures of cloth.
The old mill buildings lie empty. Some have disappeared and have been replaced by multistory flats, others house a multiplicity of small businesses. Some lie in wait for the vandals and their matches.
Who would have thought a century ago that the hanging fleece, so proudly displayed one the City’s coat-of-arm, was ironically prophesying the death of the city’s earliest and greatest industry?”
Barbara Nelson, The woolen industry of Leeds. D&J Thornton, Leeds, 1980.