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Likewise, she shows the reciprocal effect on photography, those painters' relationship to photography as “like a mistress whom one. Within that range of exposure times, the negative maintains a reciprocal relationship between light level and exposure; if you cut the amount of light in half , you. In photography reciprocity is the inverse relationship between the intensity and duration of light that determines the reaction of light-sensitive material. Within a.
She founded Sculpture Bridge, an occupation-based program to address the needs of the youth who have outgrown clinic-based services. She works with a variety of mediums and has been commissioned to create sculptures for both public organizations and private homes over the last ten years.
In uncertain times, it was meaningful occupation that empowered Mary to start over again. When a tragic accident left Hamilton paralyzed, he turned to mouth painting for comfort.
Participation in a meaningful occupation helped Hamilton find his path in life. Over time, he developed his own techniques, use of color, and a signature impressionist style. As a result, his art grew better and sweeter. To Professor Burwash, lamp work glass bead making is the perfect blend of art and science, spiritual and practical.
Professor Burwash believes the relationship between art and occupational therapy practice is reciprocal. Art can be used to explore interests, improve social skills, and build relationships.
Creative occupations, such as jewelry making, can help people transform their identities. Art creates balance between traditional medicine and personal medicine—those meaningful activities that give life purpose. Connecting the Pieces in Search of Answers Jennifer Fortuna Alli Berman has been an artist, educator, author, and lecturer for more than 25 years.
Her art can be found in private, corporate, and nonprofit collections around the world. Berman is the creator of PuzzleArt, a series of small abstract paintings that combine to form a modular puzzle. Engagement in a meaningful activity, such as painting, provided her motivation and strength for continued physical and psychological healing. The PuzzleArt concept evolved from a simple exercise that helped Berman to fit all of the missing pieces back together again.
PuzzleArt Therapy creates opportunities for people to connect with the arts, their inner-selves, and each other.
What started as a simple exercise has evolved into a therapeutic modality helping thousands of children and adults. Today, Berman is on a personal crusade to help as many people as she can. PuzzleArt Therapy is used in vision therapy, occupational therapy, art therapy, and neurorehabilitation centers around the world. Lori Reynolds has an interest in therapeutic gardens and the creation of living spaces that promote well-being for older adults.
Reynolds educates various stakeholders on the benefits of occupational therapy, including landscape architects and senior living administrators. Her advocacy to expand occupational therapy beyond its mainstream roles is infectious. She speaks passionately about her work in helping to create therapeutic gardens and how her role as an occupational therapist offers great perspective in this process.
The blurred lines between cinema and photography in Antwerp | Flanders Today
A Place for Artists to Participate and Engage Lydia Royeen Arts of Life is an innovative, Chicago-based day program where artists with and without disabilities have the opportunity to participate in artwork. It was created out of an identified need for individuals with a developmental disability to foster community engagement in artistic endeavors.
At low light levels, i. This breakdown in the usual tradeoff between aperture and shutter speed is known as reciprocity failure. Each different film type has a different response at low light levels. Some films are very susceptible to reciprocity failure, and others much less so.
Some films that are very light sensitive at normal illumination levels and normal exposure times lose much of their sensitivity at low light levels, becoming effectively "slow" films for long exposures. Conversely some films that are "slow" under normal exposure duration retain their light sensitivity better at low light levels.
Reciprocity also breaks down at extremely high levels of illumination with very short exposures. I began to appreciate how a two dimensional image inside a camera is created similarly in sight through our eyes, by a light safe container with a small hole, that is, the pupil of the eye letting light into the eyeball.
I learnt in a tight place Goldman from which improvisational actions emerged as limitations contained within mechanics of the camera and sight. An example of how the rule of reciprocity works in photography Correct exposure occurs with full expression of tones—details in the shadows and details in the highlights, in a full colour gamut depending on the limits of printers, screens or paper upon which it sits.
The rule of reciprocity engages three parts of a camera: Each relies upon the other to create an image that looks like that we see. The digital sensor is different than when using film in that its sensitivity can be increased or magnified allowing for faster shutter speeds than ordinarily available with film.
If I use a small aperture light comes in more slowly and there is finer detail in the image with a long depth of field. This means everything within the image is as sharp as everything else. A large hole lets light in more quickly and depending on time it will create a shallow depth of field meaning a part of the image will be sharp with other parts blurry.
Added to this the sensor or surface, upon which light fixes the image, can be set to respond more quickly or slowly to light.
Learning to read light for the camera is about understanding these variables. It is also possible to use an external light meter, however I chose to learn the rules physically and to witness the rule in action. By observation of light inside a human size camera ie a large light safe container I could walk into, with a hole on one side and a white surface opposite I practised how correct exposure could be achieved.
On the inside of the construction was a piece of gaffa tape, a flap covering a hole and if I uncovered the hole the back wall would light up to reveal a two dimensional image of the world outside upside down.
When inside I would expose black and white photo-sensitive paper to light for a certain amount of time then develop it in the darkroom.
Through repeating this process at different times of day in different light situations I learned to judge times of exposure. Movements such as changing the position of the paper, moving the paper closer to the hole, altering the time I let light in by closing the aperture and pulling down the piece of gaffa building up a movement memory.
After practising and teaching inside the primitive camera I used a pinhole camera outside and exposed film and polaroids for long times at sunset, overnight and at sunrise to further develop my skills. In these situations I used a tripod and exposed the pinhole camera for up to 12 hours. This meant that the actions of using the camera were not unlike improvised seeing as I respond to variables. As an experiment I wanted to see what would happen as I could change the receptivity of the sensor in more extreme ways than with film.
This allowed another element to enter into the rule of reciprocity—the speed of fixing the image. Keen to experience a direct contact with light, a camera without a lens creates a direct hit on the sensor.
Lens can bend light, speed it up and slow it down and magnify the image. I surmised that without a lens that I would be able to put into action what I witnessed inside the camera obscura. Each surface required a different movement to achieve an exposure.
The blurred lines between cinema and photography in Antwerp
This was fun which came as a surprise playing with light constrained by rules of reciprocity. I was in a kind of reverie while physically engaged. I began to understand deep feelings, memories that were otherwise hidden could not have been revealed except through movement, in response to and in collaboration with light speed. During the shoot I forget the camera and think of the way light is in motion—I make changes based on how light is moving not unlike dancing with a partner.
I create… the universe in that moment through a direct interaction with light. I conceive the universe through how I perceive it and in the context of my shoot it is experienced in a specific way that is reciprocal and alive a reciprocity created between light and me only available while moving. A still shoot would create a different experience.
Moving engages a sense of creativity of co creation and embodiment. I moved the camera vertically in response to differing light situations. I see the prints as a record of that moment, like a map of time and space as experienced through my body in an improvised play with light.
However a more profound exchange occurred during the shoot than by looking at prints. The actions produced what seemed to be early memories, perhaps for example as a baby in the sun, of embodiment. A re assessment of my process through the use of an improvisational score by Rachel Kaplan to sift through empirical findings translated into improvisational language I would like to use a score by Kaplan to see if and how my process could be conceived of as improvisational: Make and break contact with other dancers in the space.
Use the whole space within and without.Ross den Otter: Photographer / Mixed Media Artist
Track your internal landscape. What feelings or images or memories or associations are triggered when you separate and unite with other people? I understand this to mean I search out and make assessments of what and how light can facilitate a composition or make form while moving. I understand this as poetic and authentic yet struggle to articulate it.