View allAll Photos Tagged Manipulation
I've often wondered if being bisexual makes one more prone to being bipolar. Luckily I'm only one of those.
So I took a digital shot of some birds that I had and added the film scan of my brother Dan to it in photoshop. I find the combination of analog and digital to be quite interesting when considering the history and juxtaposition of the two.
All these digital pictures me are of my work on Photoshop program .
Are free for personal use only, and non-commercial.
Caution : Do not remove or add any Xi to my digital photos,When you use my photos in web sites on the Internet written should (by mrm).
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© All rights reserved . M.R.M
Explore # 345 November 24, 2008! A scene from Pac meeting at Simone's on 11/22/08. I had considered locking this for friends only since it's not the kind of photo you will normally catch me posting, but when I saw how much this made my family laugh, I decided that this is just too funny not to share with the rest of the world! That's the adorable Mr. Mark on the left manipulating the otherwise lovely face of flirtypants, and the helping hand is none other than the awesome Hopefoote. View On Black
Pogo Zink Manipulation 1- first attempt.
Roughed it up with Sandpaper then went over it with a cotton ball soaked in acetone.
Greg Dingizian, vd och största ägare i fastighetsbolaget Victoria Park i Malmö fotograferad i bolagets nyförvärvade fastighetsbestånd i Herrgården, Rosengård, Malmö den 17 april 2013. Han har själv växt upp i en annan del av Rosengård - men också i den mera välbärgade stadsdelen Slottsstaden.
Victoria Park driver ett exklusivt livsstilsboende i Limhamn i Malmö. Den 19 december 2012 köpte Victoria Park företaget Bostads AB Gröningen med 867 lägenheter i hårt slitna hyreshus på området Herrgården i Rosengård, Malmö.
Foto: News Øresund – Johan Wessman.
© News Øresund.
Bilden får fritt publiceras under förutsättning att källa anges. Bilden får ej manipuleras.
The picture can be used freely under the prerequisite that the source is given. Photo manipulation is not allowed.
Originalfil tillhandahålles gratis, kontakta:
News Øresund, Malmö, Sweden.
News Øresund är en oberoende regional nyhetsbyrå som ingår i projektet Øresund Media Platform som drivs av Øresundsinstituttet i partnerskap med Lunds universitet och Roskilde Universitet och med delfinansiering från EU (Interreg IV A Öresund) och 14 regionala, icke kommersiella aktörer.
Date: 1949
Brand: Camel
Tobacco Manipulation by Luring Sports Fans
Mickey Mantle (1931-1995) a major league baseball player who holds the record at 18 for most world series home runs, died of liver cancer on August 13, 1995. Although this was due primarily to his struggle against alcoholism, certain studies have established smoking as another possible risk factor of liver cancer. Olympic diver and bronze medalist Zoe Ann Olsen died 14-Jul-1982 of heart failure, a condition two to four times more likely in smokers, at the age of fifty-six. Professional golfer Julius Boros, the oldest person ever to win a major golf championship, also died of heart failure on May 28, 1994. Pauline Betz is a professional tennis player in the international tennis hall of fame.
For more information on BehindTheSmoke, please visit www.behindthesmoke.com/.
Please visit tobacco.stanford.edu for an extensive collection of tobacco advertisements.
02/02/2019
C'était un week end de passing massues, donc il est légitime de s'attendre à une photo de massue. Pas un passing pour le moment, il y en aura probablement une un de ces quatre. Là ce sera d'abord une photo de manipulation de massue.
Le problème des photos de passing, c'est que j'ai pris des cadrages un peu larges, et du coup l'esthétique du gymnase nuit un peu à la qualité intrinsèque photographique je trouve. J'aime bien la lumière sur son visage.
Another depiction of deliberate manipulation masking a deeper sense of worthlessness and emptiness. I've been trying to figure out what my character's expression is really saying here, and perhaps it's "If you leave, I'll harm/deface myself, which must mean you don't think I deserve to be safe or pretty". In reality, she is the one who thinks she doesn't deserve these things.
Part of my self-portrait series on personality disorders. These photos are depicting Borderline Personality Disorder.
The DSM-IV-TR criteria for BPD are:
1. Frantic efforts to avoid real or imagined abandonment.
2. A pattern of unstable and intense interpersonal relationships characterized by alternating between extremes of idealization and devaluation.
3. Identity disturbance: markedly and persistently unstable self-image or sense of self.
4. Impulsivity in at least two areas that are potentially self-damaging
5. Recurrent suicidal behavior, gestures, threats or self-injuring behavior such as cutting
6. Affective instability due to a marked reactivity of mood
7. Chronic feelings of emptiness, worthlessness.
8. Inappropriate anger or difficulty controlling anger (e.g., frequent displays of temper, constant anger, recurrent physical fights).
9. Transient, stress-related paranoid ideation, delusions or severe dissociative symptoms
These photos are heavily focused on the emotional sensitivity, instability and insecurity and the frantic attempts to avoid abandonment paired with patterns of threatened or performed self-harming behaviors. These photos are a deliberate exaggeration of these symptoms and are not meant to stigmatize individuals with BPD.
Individuals with BPD tend to form very intense and unstable relationships with others. In these photos, my character, in the midst of a very dramatic emotional episode involving her significant other, is blocking the door threatening to harm or deface herself (by cutting off a chunk of her hair) in a frantic attempt to keep him from leaving her.
A variety of emotions are portrayed in this set, indicating fear, desperation, insecurity, self-hatred, and intense and extreme emotions towards the other person. Others indicate more of an overt, deliberately manipulative motive.
For more information about BPD, go to:
en.wikipedia.org/wiki/Borderline_personality_disorder#DSM...
Once I have completed a set of self-portraits for each personality disorder, only one of these will be chosen for the final set when I can more easily determine which photos fit the best in relation to the others.
The Mud
Images and Commentary
By Michael E. Patnode
Introduction
The “MUD” project began several months after my son Albert J. Patnode was born. A.J. came in to my life to change every thing I understand about life. born Dec. 17, 1998 at 36 weeks gestation. He weighed 3.7lbs. He is a kid of special needs. He was born with broken femurs although he was born by cecearian. He has scoliosis of the back. His legs do not move and his right arm is flaccid, the left arm has limited range of motion. He eats by a gastronomy tube in his tummy and cant swallow. He has a tracheostimy in his neck to breath threw CPAP, a ventilation device although AJ breathes on his own, this gives him a fuller breath so he can maintain his oxygen saturation. He’s extremely nearsighted and what he truly sees we just don’t really know. We have 16 hours of nursing care a day to help us with his many cares. AJ is a wonderful inspiration to my wife and I and we are very honored and thankful to be his parents.
It was on a spring night 1999 that I was pawing over some old zip disks to see if I could find unusual looking images to entertain and stimulate my young sons mind. I rediscovered this image file of the old dried mud bed. During college I scanned the original 3x5 photograph at 100 DPI. At that time was all I needed but consequently; I never did use it in a project. Its data stayed on the zip disk until that spring night. I thought it might make a nice visual picture for A.J. to investigate. I began to play with it by adjusting the color and contrast and after some time, I flipped the image over in a mirror reflection of it’s self, I saw for the first time more than textures. I started to flip-flop the image over and over on itself like a kaleidoscope. I began to see more interesting looking shapes, patterns and faces, jump out at me. I didn’t really think too much of it. I’ve seen lots of kaleidoscope images before. Other than something fun to hang on my little sons mobile it was not something I thought I would continue working with.
Strangely a few days later a college friend of mine Susan Spong a photographer wanted me to show some recent work of mine at S.P.E.- the society for photographic education North West conference in Bellingham Washington. I told her I hadn’t been making any serious photographs or art since my son’s birth. She told me to get busy and make some because she was signing me up to be a guest speaker. I would be part of a panel of alumni students from Central Washington University. She was determined not to let me back out. I only had a few weeks to be ready for the conference. I decided to continue to explore with this mud image. As I did I found I could make a few more pieces before the conference. I only showed four mud images and my thesis project from 1998. To my pleasant surprise many of the people I talked to really enjoyed what they could see in the images. One of my professors, John Agars who was there enjoyed it so much he suggested that, I should make an entire show of this work. Although I knew deep inside myself that at the low DPI resolution the work wouldn’t be able to become large prints as I would have like to have. The worst part was that somehow over the years I had lost the original negatives. I knew I could not restart this project. I decided to work with what I had and consider the work to be about small images and then see where it would take me. I also remembered that the photographer Jerry Uelsmann once said at a conference I had attended. “That many artists never study one image long enough”.
I started having all sorts of interesting dreams and fantasies about what this new mud imagery could be. The work kept pulling me in further to a different kind of world. I began to wonder how many things could come from this one image? I continually kept getting the feeling of carved stone from an ancient time or futuristic alien world. Some of what I’ve developed seems familiar although, most of the imagery is oddly unique and the possibilities are entirely open-ended in each image. Every time that I look at one of the mud images I find new faces, shapes and elements. I have never seen before and this has given me the drive to make more. Sometimes I have felt like someone combing a beach to find interesting sticks rocks and shells.
Some shapes became the framework to hold other more complex images into place. Those images would be made from many layers piled upon each other that eventually became. (Depending on how close or faraway I would get to the image). Objects or faces. Most of the images have images inside images inside images and so on. Some days I have thought maybe I was building the world’s biggest Rorschach inkblot tests. Often I would forget where I was working at in the image itself, if I would put something away and not get back to it for a length of time. I decided to make more images after my initial first four. I gave myself a few small but flexible rules to follow. I thought working in a cautious and conservative way by planning to only use what I could find confined within the original mud image. I would build a new image from only this one palate and no other. I have pasted pieces and parts I liked into a given place. I then would erase parts to revel hidden things that would then be come the new part or image. At one point or another I decided that letting a little bit of foreign color sneak into some of the images might be okay if I only used it minimally. This can be seen in a stranger’s relic, commitment to vision, white moth, and the Wall.
I hope that my son A.J. has enjoyed viewing my mud manipulation images. I also hope that others can find great curiosity, fantasy, enjoyment and a small escaped from reality from my collection of mud.
In this collection of artwork I have been making new altered images from one parent photograph of a dried mud bed. It has become the pallet in which I have explored and manipulated over 40 images into a new vision of my own unique tapestry. To manipulate the images I have used Adobe Photoshop 4.0 On a Macintosh Performa Power PC 6400/200. my old Macintosh. 2.5 GIG and 100 MG of Ram. so small unlike my new Mac.
I originally photographed the mud in 1988 on the border of Arizona and New Mexico from an Indian Cliff dwelling site.
All rights reserved. No part of this publication may be reproduced or used in any form or by any means-electronic or photocopying without written permission from Michael Patnode
For information and questions write to me at Flickrmail. thanks so much.