Shaina Boone

Art Work

490-425 Nanometers (nm)

Located near the middle of the electromagnetic spectrum are the wavelengths of energy referred to as light. This region is solely dictated by the response characteristics of the human eye. Light is the energy which permits humans to see. The visible range of light in this spectrum exists between 700 and 400 nanometers (nm) and is referred to as the visible spectrum.

Covent Garden, London 2000
Seven colors primarily make up the visible spectrum: red, orange, yellow, green, blue-green, blue and violet. These are the basic groups of colors visible to the human eye. In photographic systems the spectrum is divided into three regions: red, green and blue. The color blue can be found in the range of the spectrum at 490-425 (nm). The colors in the visible spectrum have different complementary colors than the traditional color wheel. For example, the color blue's compliment is orange, while in the visible spectrum its complement is yellow.

While blue is not the easiest color to see in the spectrum, (green reflects more light making it easier to see,) studies indicate it is still one of the most calming colors and is pleasing to the eye. The majority of photographs I have taken over the past five years predominantly feature the color blue that exists within the 490-425 (nm) range of light. This was not a coincidence but was also not consciously planned. Making blue photographs gives me a sense of peace inside, like taking a deep breath that results in a small pleasant smile, thus delivering a feeling of balance inside. Only upon review of the work did I notice how prevalent the "blue" was throughout.

An interesting notion to consider is the difference between the light that the eye records and the light recorded by the film. I choose specific times of the day to make photos to capture an optimum light which results in the ultra-saturated photographs I create. Consequently, the blue that the film displays is always deeper and richer than what my eye has seen when photographing. Thus I ponder which one is the "real" blue, my eye's blue or the film's blue?

It wasn't until I photographed a green patch of moss that I noticed how much of my work consisted of blue and since then I have attempted to explore other ranges of light within the spectrum. The yellow wall and white sink (600 (nm) range), the only non-blue photo in the piece, is one of the first attempts.

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