The previous post about D65 n°4 starting was false alert.
A lot of being human is about being stupid, and what happens then is failed works.
This is the ‘new’ or ‘real’ D65 n°4
CLICK ON THE GRAPH TO ZOOM!
Here we go: since we cannot “paint” the pure spectral colors (they are far too saturated,) we have to desaturate them (this is equivalent to add them white light)
That’s what’s going on with the graph: it shows the maximal values I can obtain to paint a “rainbow” with my colors. The white light and the power of the spectral colors is almost equal (21.5% for the spectra, 21.8% for the white light)
Notice that the beginning and the end are just the same (limits of infrared & ultraviolet = no visible light,) and that when a color is not used, it’s being replaced by its “complementary” (the Turkish fills the gap of the Red, the Pink the gap of the Green, etc.) this is in accordance with Grassmann laws: when a required color amount gets negative, it corresponds to a positive amount of a complementary color…
Come back soon and you’ll see the pictures of the spectra being made on the paper.
I’m gonna do a “lamp simulation” (a circular gradient with constant tint and varying brightness, based on the abstract model of a “perfect lamp,”) based on 11 colors: 3 times RGB with 3 levels of brightness (I dont enter into the detail of how I choosed them) and Black/White.
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Light ON/OFF, hi-resolution orthographic panorama made with Hugin.
For me, there’s not much difference between such a work (the prototype, made of laserprints on paper) and a “traditionnal painting.”
I’m really starting to think it’s just the same thing, like Richter includes amateur photography in the field of “painting.”
The prototype is finally finished!
So, to explain in a few words: 1-the amount of light projected by high-power spots on the wall has been measured. 2-an algorithm has been created to absorb the light using black over white laser-prints until the wall’s surface emits the same amount of light to the eyes of an observer situated in front of it. 3-The central part of this print has been cut and the same process remade a second time within the limits of this cut.
The impression produced is impossible to reproduce in photography, so the pictures there are just “documentation.” The impression is a bit like if the light was actually coming from “behind” the wall, like if the rectangle was a “window,” opening the wall, like in a dark corridor…
I’m really happy with it, I think it would be great to remake this much bigger the next time (and after developping the tools for it, I could make it much faster and more precisely…) I’m thinking of a “virtual corridor.” I’ve always been attracted by the idea of “remaking” the corridors of italian museums, where you walk slowly and stop at every painting on your sides. I could now make the painting of a corridor of paintings… :)
PLEASE CLICK ON THE PICTURES TO ZOOM AND SEE BETTER!
TRANSFORMED (EQUALIZED) LIGHT