Viewing the activity of a blade under natural lighting [sun]

[GARY WORTHAM]

Over the years, while viewing my sword blades, as well as those of others; in the natural light of the sun, I have found a dramatic difference between the effect of the early morning, Eastern sun, as to that of the evening, Western sun; in the profound appearance of both the hamon and jihada. The difference of the visual activity is amazing, and begs for an explanation.

 

In my own home, the eastern and western exposure, are thru equal and direct compass directions, as well as comparable large windows, giving the fair comparison for effect. I was wondering what the logical & correct reason for this visual variance, from those of the enlightened, and I'm sure, others such as myself, would greatly appreciate, the discussion of the rational for the answer.

 

Gary Wortham

[paulb]

Hi Gary,

Colour temperature and sppectral curve between eastern and western daylight vary considerably. This is also effected by seasonal and atmospheric conditions. The efect of these diffeences is seen most dramatically in colour perception with coolurs appearing markedly different. It is also possible that your eye is more able to pick up some details in one or other lighting condition. To some extent this will depend on the individual and their vision.

Historically northern sky light has been regarded as the most consitent and artists have illuminated studios from the north. Lighting viewing cabinets tend to use tubes (now LEDs) with a colour temperature of 6500 which approximates north sky light.

The variation you are experiencing is not surprising if you consider the energy differences characterising the illumination at given times of the day. This is probably why the single light bulb approach has been used for many years.

[Jean]

Agreed 100% with Paul

[Jacques]

Hi,

 

For those who are interested by a more scientific explanation, google "Rayleigh scattering"

[paulb]

thank you Jacques,

I would hate to be thought of as sceintific in anything I say I have a reputation for eccentricity to maintain.

having said that science may explain why you are seeing the differences but the experience is personal and aesthetic.

[george trotter]

Another intangible may be location? I have seen Japanese who come to Australia show amazement at how "hiroi" it is here... How blue our sky, how bright our light. I know that I have noticed this also after returning from a few years in the northern hemisphere (summer and winter) and the difference is marked. That is why the first artists to come here had to either ignore it in their "Eurocentric" paintings or embrace it and become part of the native born realist "plein air" schools in our late colonial days.

I suppose this would apply to swords also. I often view my own swords in our northern light (southern light in the northern hemisphere?) but as I have not done this o'seas I can't comment on any difference.

Just a thought.

Regards,.

[GARY WORTHAM]

I looked up the topic of " Rayleigh scattering ", and found it to be a very interesting effect and explanation, yet it seems to be of the rational of the " color spectrum " in application. The observation I am describing of increased visual clarity, is from that of the early morning Eastern sun.

 

The enhancement of the activity in the jihada includes chikei, utsuri, sumigane etc.; as well of the yakiba with hakikake, ashi, kinsuji, kuichigaiba, etc; are my observations of reference. I am wondering if others, as well, related to this difference in their years of sword examinations. To add to that effectual difference, I wonder if there are those who photograph their swords in the " natural light ", and have observed this quality in their finished film product.

[Alex A]

I was wondering if viewing swords in natural sunlight was common amongst collectors?, i find that it adds a certain clarity that you do not get with imitation lighting, kind of brings the sword to life. Ive spent an hour or two this afternoon trying to improve my photography skills (to no avail), the first picture is in imitation light, the rest are in sunlight. I was hoping to capture the clarity that sunlight brings, but it is difficult to capture in a picture what the good old eye sees.

[bone]

Different light can make all the difference. To see faded utsuri I use an led flashlight. I found blue light works well accidentally by holding the blade up to a blue screen on my TV. Works great.

[DanC]

For photography, highly refracted light is best for portraits - creates the most even lighting to reduce shadows and glare. To take a picture of of an object, like nihonto, you would also want highly refracted light from multiple sources, so you get nice even lighting along the entire length. The trick is the viewing angle. Due to the shape of the blade relative to the light source, the hamon may be either in shadow or highlight.

 

Northern light from a North facing window will be highly refracted light, since the sun is to the South, so light coming in a North facing window is being reflected off something. Obviously, this will be the opposite in the Southern hemisphere. In the equatorial zone, I have no idea. Cloudy days actually create the best light for photos - highly refracted so you get soft shadows.

 

The preferred color of light, whether blue or yellow, is more subjective and largely depends on what and the color of what you are looking at.

Original top left, with different color filters digitally applied for comparison.

[Ken-Hawaii]

Try looking at your blades during a full moon, especially the upcoming "super moon." It's a very pure white light (unless you have smog, of course), & you'll find that details like the nioiguchi really "pop."

 

Ken

[Alex A]

It is is interesting to view blades under different light sources, Steve, i got me one of those LED,s too.

 

Dan, it is surprising what a difference a coloured tint makes to a photo. Bottom left reminds me of an old "black and white" photo, top right blue adds depth.

 

Ken, now theres a light source, wouldnt have thought of that one, maybe one of the reasons smiths started talking art