Hiroshi sugimoto: architecture
At first he merely transferred plant shapes directly onto photosensitive paper, but soon he began experimenting with putting the paper into a camera obscura. Naturally, his first attempts all yielded negatives, but even those surprising silhouettes sufficed to spur Fox Talbot’s curiosity.
| Hiroshi sugimoto camera obscura |
At first he merely transferred plant shapes directly onto photosensitive paper, but soon he began experimenting with putting the paper into a camera obscura. |
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Sugimoto constructed a dark room, representing a camera obscura, at the centre of the gallery. |
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These experiments eventually yielded rudimentary paper negatives made from a camera obscura. |
| Hiroshi sugimoto camera obscura 2 |
Working with a large-format camera, his glowing images range from the starkly minimal to the richly detailed, and are often suffused with expanses of light and. |
Hiroshi sugimoto famous photos
Hiroshi Sugimoto’s immense folding screens feature photographs of Japanese landmarks of sacred significance delicately printed onto rice paper. Hiroshi sugimoto: sea of buddha
By condensing the full length of the film into a single moment, Sugimoto obscures it with its own blinding light, leaving behind a “blank” silver screen open for viewers’ own projections. Lutter uses the most primitive of photographic apparatuses—a camera obscura—to create monumental photographs. Hiroshi sugimoto seascapes
Sugimoto constructed a dark room, representing a camera obscura, at the centre of the gallery. A single candle was lit in the room, casting a flickering shadow through a photographic transparency of a candle on the wall behind.
Hiroshi sugimoto: lightning fields
His work consists in black-and-white photographs of formal perfection. All images are taken using a large-format camera. The exhibition brings together Sugimoto’s three best-known series—movie theaters, seascapes, and dioramas—distinct subjects but alike in their conception and execution. 
The exhibition features five photographic series representative of the author's forty years of work: Seascapes, Portraits, Theaters, Dioramas and Lightning.
For each photograph, a view camera was placed on a tripod in the middle of the balcony. Once a symmetrical balance had been achieved between left and right, top and bottom, the film was exposed for the entire length of the movie playing that day—usually an hour and a half to two hours.The forerunner of the camera was the camera obscura, a dark chamber or room with a hole (later a lens) in one wall, through which images of.
In these darkened theatres, Sugimoto lights his images by opening the shutter of the camera and exposing the film for the duration of the screening of a feature movie. The result shows a blank screen, glowing ethereally in the center of the photographic composition.images using a camera obscura, whose long exposures produced the first negatives.
El título que Sugimoto ha escogido para esta exposición admite múltiples interpretaciones. El cerebro humano, con su aparato perceptivo, es la primera caja negra, en la que las impresiones sensibles se convierten en constructos mentales. Luego está la caja negra de la cámara (originalmente la camera obscura) que, desde la.
Hiroshi sugimoto: conceptual forms
Schematically, a camera obscura is often depicted with a house, the image of which can be found upside down in the room. In a small format, such as a box, the technique is also known as a pinhole camera. Leonardo da Vinci recognized that the eye is a natural camera obscura, and centuries later the technique served as the basis for photography. Hiroshi sugimoto: dioramas
The Kyoto City KYOCERA Museum of Art Inaugural Exhibition. HIROSHI SUGIMOTO – POST VITAM /5//10/4. Venue [ Higashiyama Cube].