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1.) Oh, Baast. Here he goes again.2.) Fuck off with that thing.3.) No, really. Fuck. Right. Off
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[March 9] The meta-ness of this appealed to me. A painting of the National Gallery in the National Gallery. But it was very dimly lit and behind really reflective glass. I used a couple photographic techniques used in astronomy to pull together a half-decent picture. One is stacking multiple exposures to average out low light noise. The other is called "lucky shot" where you combine just the best parts of multiple photos. In this case that would be the parts without reflections of the other lights in the room. I do this at work to do the same thing with artwork that either can't be unframed for some reason or is inherently reflective. The downside is when someone who doesn't understand what I'm doing needs to see what I've shot before I process it and all they see is a shit-tonne of bad photos, not the one good one that is going to come out of them all. You can get a sense of what is going on by comparing how noisy the wall is vs. the painting in the first photos, the third photo where I haven't edited out the different angles on the frame and from the second one that is just a single exposure of the label in the dim lighting.
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[March 9] This Constable was fun to see IRL. Both for the sake of canvas-sniffing and because in 1988 I did a computer-graphic study of it, included here. Kind of absurdly my 1988 computer study only exists now as a scan of a film slide of the screen.
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[March 9] Architecture composites. I really had to wonder about what would have been going through the mind of Boris Anrep while making the mosaics at the Portico entrance. He was commissioned in 1928, 1933 and 1952 for the mosaics. And I'm not talking about the content of the mosaics, but about the pressure of making a permanent addition to the architecture of such a prominent gallery.
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[March 9] This was amazing to see IRL. There is so much more to it than any textbook illustration.
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