View allAll Photos Tagged Digitalization
- Camera :
Canon EOS 400D Digital
- Lens :
Canon EF 100mm f/2.8 Macro
- Camera setting :
Exposure: 0.001 sec (1/1000)
Aperture: f/2.2
Focal Length: 50 mm
ISO Speed: 400
Exposure Bias: 0 EV
Flash: Off, Did not fire
- Location, Date & Time :
in Riyadh <3 | April 12 | 10.31 am (+3GMT)
- Software :
NO ANY EDIT ^^'
*
وتوحشنّي
وأنا اللي حالفة ، يوم الخطا : لا أصّد
وأروح أبعد . . وأقول لك : عُد
ويهزمني الولّه . . وأرد ؟!
على هالحال . .ليالي طوّال
ترد تخطي ، وأرد آبعد !
وأغيب أكثر . . وأقول لك : عُد ؟
✿
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* All Rights Reserved by F A 6 O M PHOTOGRAPHY ✿'s © 2010
- For sure, You can't copy , reproduce , publish , edit , upload in , or even transmit My Photos without my written permission.
- IF you would like to use my photos try to send me to a flickr mail massages....
digital art created in photoshop 2008
winter has arrived.we had alot of rain this year and the colours were amazing.i miss them!
A really big thanks to all the folk at Digital Camera Magazine for using an image of mine on the front cover of the August 2011 issue. A mug shot on page five too!....how embarrassing.
Original here www.flickr.com/photos/tonyarmstrong/5263459991/in/photost... Spot the cloning and change of sky colour.
- Camera :
Canon EOS 400D Digital
- Lens :
Canon EF 50 mm f/1.8 USM + Extension tube kenko 36mm
- Camera setting :
Exposure: 0.01 sec (1/100)
Aperture: f/2.0
Focal Length: 86 mm
ISO Speed:100
Exposure Bias: 0 EV
Flash: Off, Did not fire
- Location, Date & Time :
In my home | April 5 | 8.20 am (+3GMT)
- Software :
Adobe Photoshop Lightroom
لـ كُلِّ
الأشياء المُستلقيةِ انتظاراً
لـ جَبينِ
هذا المساء
لـ ابتسامتي
المُتعنقده إلى الداخل
لـ عِنادي !!!
لـ الصورةِ النازحةِ من الإطار بِنيَّة أن تقرأَ عَلى قلبي تراتيلُ العبث
لـ الأنثى
التي أعتني بها مُذ ولدت ولن تُغادرني حتى أرى
جَناحيها النابتينِ كـ ورقةِ توت , أو بتلٍ من بنفسجه لا يطاولها اليبآس ...!!
لـ السحابةِ الزرقاء المُتربصةِ بي ,,
/
/
ما أزال هنا ,,
✿
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* All Rights Reserved by F A 6 O M PHOTOGRAPHY ✿'s © 2010
- For sure, You can't copy , reproduce , publish , edit , upload in , or even transmit My Photos without my written permission.
- IF you would like to use my photos try to send me to a flickr mail massages....
A digital collage and lighting effects featuring the face of the Blade Runner. I saw the recent version on the big screen at the Regent!
The works on display at The Little Gallery ; Broad Canvas , Oxford, represent what has become a significant strand of my work as an artist. Although my main paintings and drawings are in traditional media, over the past 35 years I have also been interested in art using technology.
My first digital drawing was in made in 1983 on an Apple 2 computer. It was a very time-consuming process just to create a very small bitmap image of a canyon (now lost!). However, my first serious engagement with computer-based art came in 1995 in America when I began to experiment in Adobe Photoshop® and Paintshop Pro® in a computer lab. In the same year I bought my first PC and began to draw and modify imported material using Photoshop’s new layers and transparency capabilities, and managed to achieve effects virtually impossible with traditional paint. I became proficient at drawing using the mouse, even though it entailed thousands of ‘clicks’ to build complex shapes. Although later on I acquired a small graphics tablet, I still found the mouse quite useful at doing what I required.
Some of my earliest work consisted of collages and cut ups of well-known works of art. These were then blended in layers using threshold levels to create hypnotic or dream-like images. I did not exhibit these works as they were purely experimental and different to my painting themes at the time. By 2000, Photoshop had advanced enormously, for example, with its ability to liquify areas mimicking dripping paint or partially mixed colour. While in America between 1999 and 2001 I created a number of small square abstracts drawn entirely on the computer using strong colour and texture, but with no traditional subject matter. I gave some of these drawings ambiguous titles relating to songs or written pieces I was involved with at the time.
The next phase of my ‘digital’ art was in 2005–2007 when I started to use Adobe Illustrator®, a drawing programme using vector graphics, to make large format illustrations of historic buildings, creating the compositions from tracings of numerous photographs that I had taken for the purpose. I chose strong opaque flat colour, working with the layers function to manage the process (with its ability to show or hide certain elements/colours). The result resembled the feel of the prints that Brian Cook designed for Batsford’s brightly coloured book jackets between the 1930s and 1950s. The work that I did in this period culminated in a joint exhibition called Journeying where I showed ten large digital prints of urban landscapes of Reading city centre, each featuring architectural landmarks of the town, such as its churches, the Abbey ruins, the old prison and people going about their everyday lives.
From then on I remained interested in what could be achieved on screen and the experience was helpful with what I then did in more traditional media.
I shared many of these adventures in ‘digital’ art with online art communities where artists collaborate with, and encourage, each other. In 2006 I joined the community of flickr.com, originally a photo-sharing site, which broadened my work and the audience for it.
When I joined ‘JKPP’ (Julia Kay’s Portrait Party, founded by an American artist wanting to broaden her portrait drawing), artists were soon adopting iPads and iPhones to draw on. In 2011, at a meet up with some JKPP friends in Brussels, I tried out iPad drawing for the first time and immediately recognised that this new technology would enable me to do digital work outside in nature.
Since 2012 I have used the iPad to draw hundreds of landscapes in all weather conditions, as well as for life drawing and portraits. I prefer using apps that do not disguise their digital imprint. I like to build layers of colour and texture. For my more recent exhibitions, Secrets and Stories (an iPad exhibition, 2013), The Pace of Nature (2013–14) and Looking Out (2016), I have had iPad drawings printed onto different surfaces such as metal, wood, perspex, canvas and paper.
My tutorials and tips on the iPad feature in Drawing and Painting: Materials and techniques for the contemporary artists by Kate Wilson (Thames & Hudson, 2015), and Portrait Revolution by Julia Kay (Pimpernel Press, 2017). In November this year I am tutoring a session ‘iPad for artists’ at the Ashmolean Museum (see museum diary for details).
What you see here is a fraction of my digital work, in which I hope you will see connections with art produced by more conventional means.
I would like to record my thanks to Blueprint Imaging of Witney for printing these works and for their helpful collaboration over the past 12 years.
Recently, the Ottawa Urban Sketchers sent a challenge to its members. We were asked to sketch from a window in the month of January (a time of the year when it's unthinkable - or certainly uncomfortable - to sketch outdoors). This was my offering - my kitchen window with a pot of basil sitting on the sill and my apple tree in the background.
I sketched this scene on watercolour paper with a pencil. Before painting it, I photographed the line drawn artwork and sent it to my iPad Pro where I 'painted' it with an app called Procreate. Altogether, it took me about two hours to paint this image but not all in one sitting. The advantage of painting with a tablet is that you can pick it up at any moment and spend either 5 minutes or 5 hours working on it. There's no setup or cleanup time to bother with - you simply turn your tablet on and immediately begin painting. There's also no problem to correct errors or to change a colour - something which may be extremely difficult with watercolours and challenging with oils or acrylics. The one disadvantage with digital painting is that you don't have a physical object to manipulate and exhibit.
Récemment, les Urban Sketchers d'Ottawa ont lancé un défi à ses membres. On nous a demandé de dessiner à partir d'une fenêtre au mois de janvier (une période de l'année où il est impensable - ou certainement inconfortable - de dessiner à l'extérieur). Voici mon offrande - ma fenêtre de cuisine avec un pot de basilic assis sur le rebord et mon pommier en arrière-plan.
J'ai dessiné cette scène sur papier aquarelle avec un crayon. Avant de le peindre, j'ai photographié le dessin au trait et l'ai envoyé à mon iPad Pro où je l'ai "peint" avec une application appelée Procreate. Au total, il m'a fallu environ deux heures pour peindre cette image, mais pas tous en une seule séance. L'avantage de peindre avec une tablette c'est que vous pouvez la récupérer à tout moment et y consacrer 5 minutes ou 5 heures. Il n'y a pas de temps de configuration ou de nettoyage pour vous embêter - vous allumez simplement votre tablette et commencez immédiatement à peindre. Il n'y a pas non plus de problème pour corriger les erreurs ou pour changer une couleur - quelque chose qui peut être extrêmement difficile avec des aquarelles et difficile avec des huiles ou des acryliques. Le seul inconvénient de la peinture numérique c'est que vous n'avez pas d'objet physique à manipuler et à exposer.
Larry Fitzgerald and Anquan Boldin on the sideline observing the game.
Tennessee Titans vs. Arizona Cardinals, 11/29/2009 at LP Field in Nashville, TN.
My Photographs featured in Digital Photographer Magazine issue 139 out this month. The article is about shooting the perfect vista throughout the seasons.
I always enjoy the "assignments" for Y SIN EMBARGO Magazine. They force me to conceptualize what I am doing. My interpretation of the latest assignment was that it was about "digtal materialism", that is, the desire to possess digital artifacts.
I began by thinking about storage (in the technical sense, e.g. hard disks, DVDs, etc.) which are fundametally needed to be digitally materialistic. I started shooting DVDs and their reflections. Pretty soon, I realized that a DVD was a kind of mirror. I had some luck previously shooting reflections of my TV off my coffee table. The TV provides a still image (if you pause) with lots of vibrant colors.
This led to my first submission, entitled Absorption, which is a reflection of a commercial off of the DVD. I believe it was a commercial for some kind of tropical vacation getaway, and the sunbathing model had her head tossed back looking up at the sky. The model's face fits almost perfectly in the DVD. The DVD has distorted her face into a kind of round shape, which makes her appear quite primitive. She appears to be gazing up, as if lost in thought. I call this "Absorption" because it symbolizes the capture of the digital artifact into storage, even though it is just a fleeting reflection. She is contained, at least mometarily, in the medium.
Next, I started wondering if I could build a large mirror out of several DVDs, and I did some experiments with small arrays of DVDs that didn't turn out so well. However, the idea led me back to an idea I had last year about replicating center pivot irrigation in art. If you are not familiar with center pivot irrigation, it is a method of crop irrigation that utilizes a watering system that rotates around a center pivot in a field. You can often see them as patterns of circular shapes from an airplane in large farming areas. I find these pivot irrigation systems quite beautiful.
So, my second submission, entitled Maintenance, was an attempt to replicate the circular shapes of a typical center pivot irrigation system using DVDs. I replicated a small piece of this image. (Can you see where?) This was an extraordinarily tedious project. I almost gave up several times. There are approximately 144 separate subimages. Each subimage was constructed from shots of DVDs, circuit boards, schematic diagrams, floppy disks, and hard drive enclosures. Each of these cells required multiple layers to construct. In some cases I used seven or eight layers to get the textures and colors I wanted. This symbolizes to me the idea that you have to maintain all of this information --- you have to back it up, index it, organize it, etc. And that our digital collections are much more than independent files, but rather there are connections amongst them, a kind of communication.
