Little Faces goes next to Brazil stopping at the
Pan American Christian Academy as guest of

Mario Sergio De Marchi, Photo Teacher

in March 2002

Date: Wed, 25 Jul 2001 21:26:08 -0300
From: DeMarchi 
Subject: Collection for exhibition

Hi Andy,

This is Mario DeMarchi from Brazil.

I teach photography in an American School in Sao Paulo - Brazil, The Pan
American Christian Academy. Me thinks this exhibit would render a good round
of discussions!

Is it possible to send them to Brazil?


Date: Wed, 25 Jul 2001 21:15:00 -0400 (EDT) From: ADavidhazy Mario, Hi, good to hear from you ... and am glad you want to "play" along with this little personal project. I presume you looked at the samples on the web? The projject in case it was not mentioned is at: I checked on the itinerary and January is open. But that is summertime in Brazil, no? so presumably that is not a good time. Let me know when you would like them and I will put you down for that month. I hope that one month per stop is sufficient ... exhibit at _most_ 10-14 days ... a few days is probably better. Anyway, as you desire. Anyway. please confirm your interest based on what you read on the site mentioned above and let me know when would be good for you to "host" them. Remember that if you get them and things fall through and plans don't materialize that is perfectly OK with me. This should not be cause for much extra work for anyone!! Healthy discussion is what _is_ hoped! regards, andy
Date: Thu, 26 Jul 2001 01:30:12 -0300 From: DeMarchi Andy, thanks for your reply. > I presume you looked at the samples on the web? Yup! > I checked on the itinerary and January is open. But that is summertime in > Brazil, no? Yup! > so presumably that is not a good time. Nope! > Let me know when you would like them and I will put you down for that month. Is March ok? > I hope that one month per stop is sufficient ... exhibit at _most_ 10-14 > days ... a few days is probably better. Anyway, as you desire. > 10-14 days sounds ok to me. >Healthy discussion is what _is_ hoped! Agree, thanks for your attention + keep up the good work! Regards DeMarchi
Date: Wednesday, February 27, 2002 11:05 PM From: "ADavidhazy" Subject: Do you still want the Little Faces prints? Mario, A long time has passed so I thought I'd ask whether you still want the Little Faces collection ...? If the answer is yes where should they be sent? From you they will probably travel to Peru I think. Andy
Date: Thu, 28 Feb 2002 00:25:35 -0300 From: DeMarchi Subject: Re: Do you still want the Little Faces prints? Yes! Please have them sent to: Pan American Christian Academy Rua Cassio de Campos Nogueira 393 Sao Paulo - SP - Brazil 04829-310 Attn: Mr. Mario Sergio De Marchi, Photography teacher. Phone (55 11) 5928 9655 ext 155 Fax 5928 9591 After displayed, I will be glad to send them to Peru or wherever you tell me! Thanks DeMarchi.
Date: Tue, 05 Mar 2002 21:46:50 -0300 From: DeMarchi Subject: Re: Little Faces or Caritas arrived in Campinas - Mario, - - ... and should be at your doorstep shortly I hope. - they went Federal Express - tracking number is:... They are here! Grrrrrrrrrreat looking! Can you pls send via e-mail a brief explanation of the process, a "Message from the Author" and a rather short CV to be displayed at the entrance of the exibit? Pls send a file with a printable picture - yours, if available ;-). First exibition will be at our "science fair" this Thursday. Than it will go to the "Exibit hall" for a period. Will probably show them in other three American and British Schools in Sao Paulo, if that's ok with you. Thank Youuuuuuu! Best regards DeMarchi.
From: Andrew Davidhazy Subject: Re: Little Faces or Caritas arrived in Campinas DeMarchi, I am afraid that a _VERY_ brief explanation of the process I don't have but feel free to cut the attached beginnings of an article to whatever size or length you wish. I think it can be cut down to a few paragraphs ... of probably even 25 words or less! Cut, edit, slash and burn the bio as well!! :) Have fun if at all possible! and let me know if I can help some more ... I thought I better just send you this before it gets too late... Andy ======================================================== here is a picture you can use: and here is a more "creative" one: or this one: ======================================================== as for text materials - Improvised Scanning Digital Camera Andrew Davidhazy Imaging and Photographic Technology Department School of Photographic Arts and Sciences Rochester Institute of Technology My interest in what is now popularly known as scanning photography started when I was under pressure in graduate school to produce interesting photographs of sports events. This was in the mid-1960's and I happened to run across the photographs that George Silk had made of Olympic events with a specially modified camera made for him by Marty Forscher. It was simply talked about as a "photofinish camera" and a brief caption explained its operation. It did not take me long to decipher the instructions, make my own version and start making not only sports photos but exploring the whole wide field of scanning photography. From photofinish to peripheral to linear and then panoramic photography. As digital cameras started to be introduced it did not take me long to realize that the two approaches to image recording that existed with film type cameras were being duplicated by digital systems. The 2-dimensional CCD array cameras behaved like "snapshot" cameras, capturing the image of the whole scene all at once. Large arrays were difficult to make and thus expensive. Then manufacturers realized that they could achieve high quality without having to make a large chip by the simple expedient of moving a CCD array that was made up of a single row of sensors across the focal plane of the camera. In this fashion they accumulated image information across the field of view of the camera over time. This is essentially how focal plane shutters expose the image in film-type cameras. As we know, the process comes along with certain disadvantages which I will not reiterate here. Certain other cameras exploit the sequential exposure nature of the focal plane shutter but instead of keeping the film still and moving the shutter slit, they keep the slit still and move the film behind it. They make images of subjects by moving them in front of the camera in some fashion, generally by rotating a subject or rotating the camera while the moving film records the passing features of the images moving over the slit. These cameras are generically referred to in the technical literature as strip cameras. The application of the system further refines the definition as either linear or photofinish cameras, peripheral or rollout cameras or rotating camera panoramic cameras. In each of these applications the film, essentially, functions like "memory". And a very good memory at that! As digital counterparts of the film cameras started to be come available I soon saw the connection between the two systems and started to incorporate a reference to the possibilities afforded by digital strip cameras in my lectures and publications. Unfortunately getting my hands on a digital strip camera would prove to be more difficult than expected as the price for such cameras was beyond what I could afford. On top of it all, the manufacturers did not see the potential of strip technology as being applicable to their linear array camera designs and they made them strictly to serve the advertising/commercial photography market. My efforts finally were rewarded when I noticed that Kodak make a simple print scanner whose function it was to pull a snapshot through it all the while presumably looking and recording its surface. The price was $45. I bought one on a hunch that it just might have the makings to help me improvise a demonstration quality digital camera ... of the scanning type. Before long the device was reduced to its basic components and soon thereafter was doing things its designers probably never foresaw as possibilities. Against the advice of colleagues who warned me that static discharges and other disastrous effects would probably wreck the device if I took it apart, I weighed the price of the device against the cost of a dinner out and decided to go without one day and took the daring step of disassembling the scanner. All indications were that the scanner simply imaged the passing surface of the snapshot it was scanning by simply passing it in front of a stationary linear CCD array with the image of the print being reduced optically to match the size of the sensor. Sure enough, at the end of a plastic funnel serving as a light shield sat the CCD array. It did not take long to remove it and install it in the back of a camera and soon after I was proving that one could make rudimentary demonstration quality images that bore all the earmarks of traditional film type strip cameras when used in similar applications. There were certain limitation to the Kodak scanner in terms of quality and operation, the worst of these being the intermittent nature of the scanning process that it was designed with. This posed no major problem when scanning as intended but in my applications it was evident the scanner lost track of the images thrown upon it by the camera lens every so often. The scanner used these "dark" periods to transfer data to the computer. This left somewhat disconcerting discontinuities in the final images. I invested in another small scanner. This time it was a cheap hand operated scanner. The kind that a person pulls slowly over some original material and which during this process records the passing features of the image over time. Just what one would expect of a scanning camera! This particular scanner was a KYE HandyScan Color Deluxe hand driven rolling scanner, although I have also seen an Artec version, and the cost was $10 during a promotion! In fact, the Artec was actually free at one time from another source. I decided that the advantage of these scanners would be that one would not have to stop during a scan sequence but that the scanner software/hardware would work in combination to limit the rate at which the scanner moved over the surface to one that the device could deal with in uniterrupted fashion. This proved to be the case and it was not long either before this scanner's linear CCD array was installed in the back of a Minolta camera whose focal plane I gouged out with a Dremel tool leaving flat surfaces on which the printed circuit board of the scanner bearing the CCD array could be attached. The CCD array itself is normally connected to the rest of the scanner body and hardware with a short 12-wire connector. I cut this wire in half, bared each of the ends and carefully numbering each so as not to loose track of the proper connections I made and extension cable to enable the CCD array to be installed in the camera at a distance of about 4 to 5 feet from the scanner body itself. Unlike the approach with the Kodak array where I fixed the array in one position,this time I chose to attach the array in the middle of a tongue like device that could slide within a "C" channel glued to the camera body allowing the CCD array to be moved across the focal plane of the camera. I planned to slide the array from one side to the other by taking up a string attached to one edge of the sliding tongue onto the shaft of a small variable speed DC gearhead motor. This would allow me the capability of "focal plane scanning". To recap, then, the array itself functions as a "slit" shutter and the data extraction process of the scanner is the memory or digital film. This is reminiscent of my special interest in traditional photographic life: strip cameras. By way of further explanation it is important to mention that this scanner device is designed to be moved over a surface. This causes a chopper wheel to turn giving the scanner information about the rate of motion of the scanner over an original. Since once the scanner is modified it is not really practical to move the scanner body by hand, I first fitted a rubber band over the shaft of the chopper wheel and with a variable speed DC gearhead motor drove the wheen at a constant speed that was within the limits that the scanner software could cope with. Later on I removed the chopper wheel assembly completely and replaced it with an LED driven by a variable frequency oscillator. This provided a steady signal to the scanner's software that was not prone to be interrupted by broken rubber bands! A camera like this has many applications, From panoramic photography, where the camera is rotated through an angle of 360 while it is gathering data, line by line, until it has enough information to reproduce the whole scene that surrounded it, a 360 degree wide angle photograph. Cameras like this can, and in fact are, also be used to determine the order of finish of cintestants in a horse race, a dog race or even a human race! I decided to explore an application know ans "peripheral" photography. This technique which is focused on recording of the complete outer surface of (usually) cylindrical objects has been the specialty of a very few photographers since was first considered, developed and applied in the late 19th century in archeological museums where Greek and other vases from antiquity were photographed "in the round" to record the total outer circumference of designs added to their surfaces. Shell Oil Company developed a camera in the 1930's designed to photograph pistons and cylinders to show areas of wear, etc. I started to experiment with peripheral photography in the mid 1960's making peripheral portraits of people. These portraits often did not look very much like the actual persons! For peripheral photography I placed the linear CCD array in the camera roughly in the middle of the film gate. Then, I stood on a turntable in front of the camera after having pressed the "scan" command on the software controlling the scanner. The idea was that as I rotated in front of the camera the lens would project continuously changing features from my head onto the linear array located in the camera image plane. The scanner would be functioning as a "non contact" printing press where my head would supply, over time, the changes in information that the scanning array would then store in the computer's memory. I tried to make a couple of turns or so during the time it took the scanner to believe it had scanned a 14 inch long print. Success!! I also applied the camera to traditional peripheral photography by placing a vase on a turntable and adjusting the image size and the rotation rate so that a more or less acceptable reproduction of the surface features of the vase was displayed in the final image. But the most fun was when I took this camera to a science fair and made the opportunity available to visitors to have their own "peripheral portrait" made. For the duration of the exhibit I had visitors young and old standing in line to be photographed in this novel way. Later on, as I reviewed the files from the event, I thought that some were really intereting visual representations of what we call the real world ... distorted images perhaps but nevertheless fun to look at and ponder about how the photographs were made and to enjoy the unusual "look" of these images. I hope they bring a smile your way and hopefully they will also spark your curiosity to find out more about the process or to devise your own applications for it. ======================================================== brief bio ... Professor Andrew Davidhazy received an AAS in Photographic Science in 1963 and a BFA in Photographic Illustration in 1966 from the College of Graphic Arts and Photography and an MFA in 1968 in Graphic Design from the College of Fine and Applied Arts at the Rochester Institute of Technology. He started his professional carreer in 1966 when he joined the Distillation Research Laboratory headed by Dr. Kenneth C.D. Hickman as a Research Photographer. Subsequently he was Director of the Director of Division of Arts and Graphic Arts, College of Continuing Education, RIT from 1970-1979 and now is a professor in the Imaging and Photographic Technology Department of the School of Photographic Arts and Sciences at RIT. He was the recipient of a 1988 Eisenhart Award for Outstanding Teaching at RIT and the 1990 Professor Raymond C. Bowman Award from the Society for Imaging Science and Technology. He was a NASA/ASEE Research Fellow in 1994 at NASA Langley Research Center, VA. and the 1992 inaugural Kodak Visiting Professor to Australia. He was a guest intructor at The Institute for Photography of the University of Gothenberg in Sweden. He has published and lectured widely on the general topic of "Simplified approaches to Strip and Streak Photography and Scanning Photographic Systems", as well as many other topics related to photographic instrumentation, as invited speaker to conferences, workshops and seminars worldwide.


Thank you DeMarchi!