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As a trial for a technical experiment, this image was edited using autochrome. It's nothing special, but i like the detail
experimenting with some Infrared film, though it was ilford sfx, they say its not true infrared, the sun wasnt helping much, stayed behind high clouds most of the afternoon, peeking out sometimes to let me get a shot. shot with a kodak medalist II, hoya r72 filter, ilford sfx film
Connectivity and readymade practice : experimenting, manipulating and combining of daily life objects in order to attempt or to force a connection, at least to make it visible and possible for a further installation or project.
New media art course at Erg, Brussels.
L'aventure de la reconstitution
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CONFÉRENCE
MAISON MINATEC
SA 10 OCT 10h30
Dans le cadre du salon Arts Sciences Technologies EXPERIMENTA 2015
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Gratuit
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Durée 2h
© Perzaio engineering
Découverte en 1994, la grotte Chauvet qui date de 36 000 ans, n’a jamais été ouverte au public dans un souci de préservation. Il était donc nécessaire de reproduire ce joyau
de l’humanité pour pouvoir le faire découvrir, et faire vivre au public les conditions réelles de la grotte (température, humidité, sensations, etc.), mais aussi pour faire découvrir
les mille dessins tracés sur les parois. Cette reconstitution portée par la Région Rhône-Alpes et le Département de l’Ardèche avec un soutien fort de l’État et de l’Europe a été rendue possible par l’alliance fructueuse de l’art, des sciences et des technologies.
Cette conférence invite différents protagonistes du projet, isérois notamment, à retracer l’épopée de cette reconstitution : Richard Buffat, directeur du Syndicat mixte de la Caverne du Pont d’Arc qui a porté l’opération, le cabinet Perazio, le scénographe Frédéric Ravatin et l’entreprise Campenon–Bernard. Elle mettra en lumière les prouesses
artistiques et techniques réalisées pour ce projet, du travail de relevé numérique opéré par le cabinet Perazio, dont la
technicité est à ce jour unique en Europe, à la création d’un clone numérique de la grotte utilisable par l’ensemble des corps de métiers (scénographes, spéléologues, architectes, BTP, peintres, artisans, éclairagistes…), jusqu’à la conception à l’identique, en taille réduite, de l’intérieur de la grotte.
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Retrouvez dans EXPERIMENTA un dispositif immersif qui invite le public à un voyage à travers le processus de reconstitution permettant de rendre visible un pan entier de l’histoire de l’Homme.
This is not supposed to be Great Art, it is just a home experiment with candlelight, and more specifically, simulating and enhancing candlelight.
I have a volunteer photo-shoot commission tomorrow at a local county historical site. They do this every year, and it is a “Candlelight Tour” of a local 18th century mansion. I think that this shot is actually getting close to what I have in mind, so I’ll describe what I did – for my own future reference, of course.
First, understand that I have a real hard time trusting automatic settings. I feel that way about cars, and I feel that way about photography too. I want to be in control of everything myself, this way, if I decide on the spur-of-the-moment to change something, I know what all the various vectors are set to and what changing one or another will do.
I plan to use flash as my primary light source, because on the one-hand it may be dark in this place with only candles, and on the other hand I may need to suppress the ambient light coming in from outside, which could be considerable if it is a sunny afternoon tomorrow. It is overcast today, but I have a large expanse of windows to camera-left.
I set the camera to a fixed-ISO of 1600 (versus my usual variable ISO) because that is the highest sensitivity that I’m comfortable with for decently clean output, and I don't want the camera overriding me. What can I say; I’m picky.
I set the Tv to 1/200 because I want to suppress as much ambient light as I can. If I want to suppress more ambient once I am on-site, I’ll drop the ISO. The ETTL flash will automatically compensate for foreground Ev, and the ambient will fade-to-black.
I set the Av to f4 because I want some bokeh on the background for separation, but f4 is a little more tolerant of DoF than f2.8.
I also put a “gel” on the flash to alter its color. What I have is a set of small transparent-plastic rectangles of various colors sold for just this purpose. They simply fit on the flash-lens, and I secure it with scotch-tape. What I’m using here is a specific color-filter known as “1/2-CTO” (Color Temperature Orange) this turns the flash light from “blue” to a medium “orange” color (for reference, 1/4-CTO is traditional for matching flash to incandescent light bulbs). My goal is to have the light coming from the flash roughly approximate the color of flame, which is rather orange, after all. I want the scene to be a LITTLE orange, but not TOO much.
I set the camera metering-style to center-weighted, and the flash is set for ETTL (the one-and-only “auto” variable here) and the flash output is set for -1Ev. I am underexposing a bit because this is supposed to be candlelight, and anything too bright would give-it-away. I am also using one of those hard-plastic caps on the flash (the gel is underneath this). I have one of those ubiquitous Gary Fong bulb-looking-things, but I want this light to be more directional than that so that it could be a fireplace or candelabra. On the shoot tomorrow I may hand-hold the flash away from the camera (low-and-away, I think), but this was done with a tripod and RF-trigger.
The final question is; what about White Balance? I suppose that I could have used AWB, but then you get-what-you-get. I could also use something like "daylight" or "shade", but again, those are very coarse adjustments and to adjust the color I’d have to mess around with the gels. That would be awkward and time-consuming, and I only have 4 or 5 different “orange” gels. What I did instead was use a fixed “Degrees-Kelvin” setting as WB. The color of the light is the color of the light, but this way I can fine-tune the exact color that the camera “sees” and records relative to the ½-CTO gel. The default color-temp of flash (and AWB) is 5500-K. When I tried 6500-K it was VERY orange, and when I stepped down to 4000-K it was a little too blue, so this is set to 4500-K, and I think that the effect is pretty-much what I want. If I have to, I can tweak the WB in processing, but that hasn’t been done here, following the Less-Is-More principle.
So – this is what I’ll go to the shoot with tomorrow. If the ambient is too bright (and/or blue) I’ll drop the ISO (which is a Good-Thing anyway), and I am prepared to modify the flash output also (now at -1Ev) to adjust flash output.
5D4-01925-20191214
This was a experiment for a unit of work at college. After applying a red wash onto the paper, I cut out a stencil of a bullet from a WW1 gun. Using black ink and cotton wool, I dabbed the ink onto the stencil, and it left a interesting texture onto the page.
Proof of concept experiment. I had this idea that I could paint or draw different elements on separate pieces of paper, scan them, and combine them on the iPad in separate layers. I’d have the look of analog and the editing capabilities of digital.
Bee Paper Co-Mo Heavyweight Sketch Paper 9x12 inches (22.9x30.5 cm), Turner Acryl Gouache, and Crayola Black crayon.
iPad Pro
Apps: Superimpose X and Sketch Club.
Part of an experiment in Northridge run by UCLA's engineering department. We were in a building that was red tagged from the 1994 Northridge Earthquake but still hadn't been torn down yet. The engineers wanted to model how buildings behave when shaken, so they put a giant off-balanced motor on the roof that would shake the whole building when run.
Seismometers were placed on every floor and at every corner to measure how the building shook. I wish I took pictures of the building itself. It was in absolutely horrid shape. (We weren't allowed inside the building when the shaking experiment was underway).
Num projeto patrocinado pela Caixa Economica Federal, foi montado na praça central do shopping Salvador uma mini quadra poliesportiva onde os frequentadores do shopping podem experimentar de forma ludica atividades do esporte paraolimpico. O atleta Dirceu Pinto medalhista de ouro nas paralimpiadas de Londres em 2012 paraticipou de jogos com crianças e adultos e distribuiu autografos..foto: Edson Ruiz
(for English scroll down)
Auf ein ganz besonderes Experiment lässt sich Sängerin Romy Haag jetzt in ihrer neuen Show ein: Musikalische "Blind Dates" stehen im Fokus eines Projekts, das spannende Überraschungen und echte Entdeckungen bereithält. Denn auf der Bühne wird es zu Begegnungen mit Künstlern kommen, mit denen Romy noch nie zuvor gearbeitet hat, darunter etablierte Sänger sowie Musiker aus dem Underground, neue spannende Namen, die dem Berliner Publikum vielleicht noch nicht bekannt sind und auch Romys ganz eigene Geheimtipps.
Gekonnt spannt Romy Haag dabei den Bogen vom Vertrauten zur Magie des Neuen. Dabei bleibt sie sich stets treu und wird erneut ihrem hohen Anspruch gerecht, einen rockigen, avantgardistischen und unterhaltsamen Abend zu präsentieren.
Romy Haags Konzerte gleichen stets einem bezaubernden Rendezvous. Sie sind ergreifende Begegnungen mit Menschen und Themen, die in den letzten Jahrzehnten das facettenreiche Leben der Künstlerin geprägt haben. Romy Haag ist emotional, persönlich berührend und auch politisch in ihren Songs. Ihre liebgewonnenen und neuen "Lieblingslieder" präsentiert sie jedoch stets ohne reumütigen Blick zurück. Stattdessen sind die Songs geprägt vom Hier und Jetzt.
Ergänzt mit interessanten Anekdoten aus den verschiedensten Stationen ihres aufregenden Lebens, versprechen die „Blind Dates“ zu einer fesselnden Show zu werden.
Berliner Kabarett-Theater 'Die Wühlmäuse' - 12. Oktober 2019
de.wikipedia.org/wiki/Romy_Haag
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ROMY HAAG Blind Dates
Singer Romy Haag is now embarking on a very special experiment in her new show: Musical "blind dates" are the focus of a project that holds exciting surprises and real discoveries in store. Because on stage, there will be encounters with artists Romy has never worked with before, including established singers and musicians from the underground, exciting new names that may not yet be known to Berlin audiences and Romy's very own insider tips.
Romy Haag skillfully spans the arc from the familiar to the magic of the new. In doing so, she always remains true to herself and once again lives up to her high standards of presenting a rocking, avant-garde and entertaining evening.
Romy Haag's concerts always resemble an enchanting rendezvous. They are poignant encounters with people and themes that have shaped the artist's multifaceted life over the past decades. Romy Haag is emotional, personally touching and also political in her songs. However, she always presents her cherished and new "favorite songs" without a rueful look back. Instead, the songs are characterized by the here and now.
Supplemented with interesting anecdotes from the various stages of her exciting life, the "Blind Dates" promise to be a captivating show.
Berlin cabaret theater 'Die Wühlmäuse' - October 12, 2019
Experimenting applying textures to objects in 3DS Max. Textures used are galvanised steel, fibreglass and wood. All textures retrieved from www.cgtextures.com
Zioptis Fireworks Experiments
Straight from camera. No manipulation.
There's an American flag in this picture, just above the Ferris Wheel.
I like taking pictures of fireworks that do NOT look like fireworks! Instead of the recommended tripod and "fireworks" setting, I move the camera in various directions using exposures ranging from 1 second to 15 seconds.
Also, I use a small complete set of Roscoe Color gel samples to wave in front of the lens to get colors not typically seen in major fireworks shows. Various glow sticks and mirrors give even more variety and textures to round out the package.
by Zioptis Foundation
Detroit, Michigan
founded 1986