From Richard A. Gregory, "Rough Notes" [MSBZ004-02-01-112]
October 7th
Subject: Placing of the brick into positions.
Distance from Subject: 6feet 4 in.
light. 3 lamps of 500 candle power at distance of 4 1/2 f.
diaphragme: f2.8.
Speed 16
fade out
fade in of
Subject: Final plastering and filling of section
Distance from Subject = 8 feet 6 in
light = 3 lamps of 500 candle power each oat distance of 4 1/2 feet
Diaphragme: f2.8
Speed 16
fade out
fade in
Subject: Using of drags.
distance from Subject: 14 feet
light: 3 lamps of 500 candle power each, at distance of 4 feet 6 in.
diaphragme: f2.8
Speed: 16
Cut fade out
fade in
Subject: Detail of using of drags.
Distance from Subject: 6.3
light: 3 lamps of 500 candle power at distance of 4 1/2 feet.
diaphragme f2.8
speed 16
fade out +
Cut
fade in of
Subject = Brushing of mosaics with 3 men in camera.
Distance from Subject: 7feet 9in.
light: 3 lamps of 500 candle power each, at distanceof 4 1/2 feet
Diaphragme: f2.8
Speed 16
fade out
fade in of Subject:
Subject: Detail of brushing of mosaics (South Soffit)
Distance from Subject: 6 feet
light: 3 lamps of 500 candle power each, at distance of 4 1/2 feet
Diaphragme: f2.8
Speed 16
fade out
fade in of
Subject: Removing of plaster covering with tool.
Distance from Subject: 6 feet
light: 3 lamps of 500 candle power each, at distance of 4 1/2 feet.
Diaphragme: f2.8
Speed 16
fade out + cut
New film
fade in of
Subject: Conserving mosaic edge (with body)
Distance from Subject 5 feet
light: 3 lamps of 500 candle power each at distance of 4 1/2 feet
Diaphragme f2.8
Speed 16
fade out
fade in of
Subject: Detail of conserving of mosaic edge.
Distance from Subject: 4 feet
light: 3 lamps of 500 candle power each, at distance of 4 feet
Diaphragme f2.8
Speed 16
fade out
fade in of
Subject. Removing of paint.
Distance from Subject 10 feet.
Light: 3 lamps of 500 candle power each at distance of 4 1/2 feet.
Diaphragme f2.8
Speed 16
fade out
More Exhibit Items
Gregory documents the technical specifications employed during filming, including the distance of the camera, the aperture of the lens, the number of lamps, and their distance from the subject. He also states that the film used is Kodachrome 16 mm for "artificial lightning."
Gregory documents the distance, speed, and aperture employed during filming, as well as the varying light conditions.
Gregory documents the distance, speed, and aperture employed during filming, as well as the use of natural light.
Gregory documents the subject, distance, speed, and aperture employed during filming, as well as the specifications of the lamps used to provide artificial light. Some pages also contain calculations concerning speed in relation to feet of film used.
Gregory documents the subject, distance, speed, and aperture employed during filming, as well as the specifications of the lamps used to provide artificial light. Some pages also contain calculations concerning speed in relation to feet of film used.
Gregory documents the subject, distance, speed, and aperture employed during filming, as well as the specifications of the lamps used to provide artificial light. Some pages also contain calculations concerning speed in relation to feet of film used.
Gregory documents that a new electric lighting system for the films was installed.
Gregory documents that installation of the new electric lighting system for the films was completed.
Gregory describes technical difficulties that arose due to mismatched lamps and adapters that postponed filming.
Gregory documents that a dark room was constructed to facilitate filming on the northern tympanum wall in Hagia Sophia.
The unknown author of this notebook documents the light conditions employed to film the Virgin and Child in the apse of Hagia Sophia.
The unknown author of this notebook documents the light conditions employed to film the Virgin and Child in the apse and the angel in the soffit arch in Hagia Sophia.
Hawkins documents the speed and length of film used to film the Virgin in the apse and the angel in the soffit arch in Hagia Sophia.
The unknown author of this notebook documents the speed and length of film used to film the Virgin in the apse and the angel in the soffit arch in Hagia Sophia.
Hawkins documents that a dark room was constructed on the scaffold to facilitate filming on the northern tympanum wall in Hagia Sophia.