From Richard A. Gregory, "Rough Notes" [MSBZ004-02-01-112]
Brushing
Removing paint
Removing plaster
Cramping
(1.30 minutes = 39 feet, normal speed)
[Drawings and calculations]
Film Photography
October 5th 36
[Drawings and calculations]
Film Photography
Oct. 5th 36
Subject = Testing Soffit Arch
Distance = 6 feet
light = 3 lamps at 500 candle power, at distance of 4 1/2 feet
Diaphragme f2.8
Speed 16.
fade out of Testing
fade in
(Head must be shown)
must keep the head and hands and the subject in movement
Subject = Removing plaster at mosaic edge, and conserving with plaster
Distance = 6 feet
light = 3 lamps at 500 candles power at distance of 4 1/2 feet
Diaphragme = f 2.8.
Speed 16
fade out
fade in of
Subject = Vinyling of mosaic edge
Distance = 4 1/2 feet
light = 3 lamps of 500 candle power at distance of 4 1/2 feet
Diaphragme = f 2.8
Speed = 16
fade out
fade in of
Subject = actual conserving of mosaic edge with plaster
Distance = 4 feet
light = 3 lamps of 500 candle power at distance of 4 feet
Diaphragme = f.2.8.
Speed. 16
fade out
fade in of
Subject. Removing of plaster from Fossati section (drilling)
Distance = 5 feet
light = 3 lamps at 500 candle power at 4 1/2 powers
Diaphragme = f 2.8
Speed = 16
fade out
fade in of
Subject = Removing of plater of Fossati
Distance = 5 feet
light = 3 lamps at 500 candle power at 4 feet
Diaphragme = f2.8
Speed = 16
fade out
40
10
20
45 feet
drilling 10
filling cramp 5
filling with plaster
fade in =
Subject =
Drilling of holes for cramps
Distance = 5 feet
light: 3 lamps at 500 candle power at 4 1/2 feet
Diaphragme = f2.8.
Speed = 16
fade out
fade in
Subject = placing of cramps in position
Distance = 5 feet
light = 3 lamps at 500 candle power at 4 1/2 feet
Diaphragme = f2.8.
Speed = 16
fade out
fade in -
Subject = fitting of cramp with plaster
Distance = 5 feet
light = 3 lamps at 500 candle power at distance of 4 1/2 feet
Diaphragme = f 2.8
Speed 16
CUT
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.