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History mosaic mirror installed in the McLeod Residence's bathrooms. This is a Barbarian Group project.
Working on a retelling of the Solar engine so that it runs in real-time from microphone input. The original version existed only as renders because I was asking the computer to perform highly processor intensive particle repulsion. Given a mass of particles (10,000+), each particle had to exert a force on every other particle.
The original render ran at less than one frame per second. This version, still visually dense and reactive, runs at near 30fps on my laptop. Once the port to Cinder (with some optimization magic courtesy of Andrew Bell) is complete, we expect it to hit the coveted 60fps mark.
Still working on the visuals and behavior. Next up, variable size spheres and pushing more of the workload to the GPU.
This is a drawing I did a few years ago, based a photo of a weightlifter - was never too happy with the way it turned out originally. I've been experimenting with the way I render color and light a bit recently., so I thought I might dig it out and play around with it. It's a bit more detailed and fussy than my drawings usually are -- not sure if that's a direction I want to go in, or if I should be pushing towards simplicity. But that's what sketching and drawing is great for. Always good to experiment with processes. Who knows, I might even start working with ink and paper again one of these days.
This performance was made after the opening of my current exhibition at the Lars Bolin gallery in Östersund, after hours with only the gallerist and photographer as participants / spectators.
photos: www.jimmydahlberg.se
The Ben Day process involved screens with raised dots or patterns that could be painted with ink or other media and then burnished onto prepared areas of an exposed zinc plate before etching, a photographic negative before exposing onto a prepared metal plate, or even onto artwork or ad material before it was photographed for the printing process. A complex and unique process, it appears in use from the late 1800s through the 1980s—maybe beyond in specialized industries or printing plants that didn't update.
On this page, a standard form of the device is shown with details about what tints and patterns are available. It appears to be from
The page shows at the bottom the printed results of applying 40 patterns to photographic negatives before etching and then printing. Compare No. 532 on this page with the identical No. 532 in the next image in this sequence. A 20% tint applied as a layer of pigment to a negative means that 20% of the exposed area is opaqued out, leaving 80% clear. When exposed onto a photosensitized plate, the clear areas harden. During etching, only the unexposed portions wash away. As a result, the relief plate used directly for printing (or through duplication in the stereotype mold/plate method) have 80% of the area covered in tint.
From Graphic Arts Production Yearbook, Volume 6 (1950)
Bonkers processed several different ways, (including with my BumpCam program), in the bedroom in Kitahiroshima in February of 2019.
Another one from the Blind Wino 618 camera, this time more of a straight scan for a true cross-processed look.
Ektachrome 100 film.
I thought it would be interesting to post a before and after on a digital frame after all the recent film colour which needs seconds to minor crop sometimes and then post, Canadian Film Lab do the heavy lifting but sometimes as here a film frame wouldn't have the look I was after. the sun was low and soft but the blue sky wasn't giving the Spring look I saw so off to CaptureOne.
The out of camera is just that, with some default sharpening in CaptureOne V10 that really doesn't affect the comparison and it can be turned off. It has a flat, called linear, profile, applied so no curve at all. The processed had adjustments to:
White Balance - to taste not accuracy
Crop - obvious on the OOC, I was view point restricted.
Colour Editor tool- to bring out the pink
Layers - just one to take down the upper branch exposure a touch as the colour had brought it up being similar to the selected pink hue. A bit heavy handed there, I need more practice and the mouse is not optimal for mask drawing.
RGB and Luma curves applied selectively
Levels just brought in a touch at extremes
Film Grain - Silver Rich
Clarity and Structure - just a touch
Sharpening on my default
How long on the job, I think about 5 mins in total, I'm getting better with the on-line tutorials but the new dedicated shortcut keyboard is attractive as is a Wacom tablet.
Taken on the Square Phase One P20 back Hasselblad V 500cm with the 100mm f3.5 CF Planar Hand held on the evening dog walk
1. Sample pixels from images of trees.
2. Use them as textures for a distorted grid.
Made with Processing.
Cyanotype on Hahnemuhle Andalucia paper. A bit different formula with ferric ammonium tartrate instead od citrate.
sometimes i wish i could snap my finger then tadaaaa things are in front of me shortly. But nothing just happen. Just like Amerie says, "Sometimes you gotta work hard for it".
An opportunity to shamelessly mention "Flora & the Prince", the brand new oratorio I've been writing for Dundee University, and which will be premiered in Dundee on 12th March! The first performance of the complete new piece will be recorded.
looks as I like this stage much better than the final, with black outlines. you can't really tell what's going on, but who cares though X)
Tools of the trade.
I've been really fortunate for getting projects I love. Spent a week in my studio creating graffiti tags and stencil illustrations for a big national client. Excited to share the work when it's done in a few weeks time. Stay tuned.
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still missing summer...
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wow...it seems like forever since I've been on here...school started, and I've been busy with that...sorry about not keeping up with everybody's photostreams. :(
explore, highest number 52!