View allAll Photos Tagged image_manipulation,
Image manipulation (RE UPLOADED )
(environment change)
Self portrait
About the photo :
Once upon a time …….
(a magazine cover /poster)
Canon EOS REBEL T3
exposure time : 1/20 sec
ISO : 800
Focal lenth : 20mm
My sister once asked me how I feel about using Photoshop and image manipulation. To her, photos have to roll out of her camera, ready like a polaroid. Every change is one to many.
I however, have strayed far from this notion and now, to quote the great John Cleese, fart in that general direction. Digital pictures, in my opinion, need a little interpretation, mostly because they generally lack the sensitive and organic nature of film. Besides it's not like the romantic days of yore days were totally void of a little burn or dodge (for those who know the lingo) and in the end, it's the transferring of a feeling that ranks supreme.
So, in the light of a free interpretation of Aristotle's quote 'to use photoshop to the amount at the right time, and for the right purpose and in the right way - that is not within everyone's power and that is not easy', today I totally went overboard and combined HDR - the ultimate photoshop snobbery - with an unhealthy dose of duotone. My oh my...
By the way, how do you like my new lamp :)
Part of the storyboard for part two of my digital image manipulation project. It's rather odd, as we have to work on it like it's an animation, although it's not. It has to be a minimum of ten images to a piece of music.
Having read feedback from Karen (Tthe Pack) that the bokeh of an earlier dragonfly photo reminded of a bug's eye view, I played with a couple of layer diffusions and filters in Photoshop to create this impressionistic take-off on the idea. Who has a Clue what a bee sees in it's little brain? Could that fragrance look like this?
“EU” provides an overview of the work of Satoshi Fujiwara through photo-assemblages and a wall-scale exhibition design that integrates the photographer’s iconographic lexicon and channels concerns over the context of exhibiting photography in a society that puts images on display every day. The installation originated from one of Fujiwara’s primary influences: the Museum of Modern Art’s 1942 exhibition design for “The Road to Victory: a procession of photographs of the nation at war” directed by Lt. Cmdr. Edward Steichen (appointed by the US Navy), and designed by Austrian-American architect Herbert Bayer. The exhibition was devised as a cover for US military efforts during World War Two and took place following the attack on Pearl Harbor. Set up was assigned to Bayer, who worked together with the show’s director to devise photo-murals that merged and sublimated military and political documentation with non-linear sequences. Their exhibition design can be considered part of historical display strategies, and amplified and merged major political interventions and their effects into other cultural fields. But despite this, Bayer’s solutions were also somehow incredibly detached from history and presented clear cuts that today appear incorporated right into graphic design software. Satoshi Fujiwara’s partial rendition of camera details, his voyeuristic portrayal of human presence, as well as his political scrutiny all amount to an alternative index of journalism and media. It is a photographic practice that haunts today’s incorporated European photography. His “ghosts” come with assumed spatial losses (at least as mitigated news layouts), and flattened Dazibao (the historical examples of public information architecture used to broadcast journalism during China’s cultural revolution). Here they are necessary and spatially vulgarized by widespread overexposure, the constant use of image manipulation and video editing software shortcuts: visual impact and deadening effect on the way we look at images. “EU” is conglomerate of different formats, JPEGs and DPI standards. Non-linear, reduced-narrative instalments register inurement to image consumption, as well as less formal contemporary propaganda streams in a moment in history when exhibiting photography and exhibition design have become a mild architectural alias; a flat palliative for organizing and editing images at speeds that are lower and more silent than we are used to when communicating, pitching and neutrally commenting on subjects. It is a spare platform for brings-watching viewers, wider than a monitor, yet with less of a future and far weaker defence strategies. (Image courtesy Fondazione Prada, Armature Globale. Photo: Delfino Sisto Legnani)
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This is actually two photographs that took combined together which bizarrely can sometimes (possibly from feckery people) can be very controversial. I had a exhibition way back of these photos and some old people (once they found out) seemed to be upset that it was not one photograph...but there we go. I saw this amazing sky and took a photo of it, and then one day thought that I could use it in the Bruce’s Stone photo (which had a boring sky anyway)
Mike
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The old Power Plant building and USCG Tanney at the Inner Harbor in Baltimore, Maryland. The photo is actually the reflection of the buildings and the ship in the adjacent water. I rotated the image 180 degrees and flipped it horizontally (so it appears to no longer be mirror-imaged, but "correct" with respect to reality).
Other than adjusting levels and some local contrast enhancement, there was no other image manipulation.
The strong colors are the result of early-morning, low-angle sun reflecting off of the brick buildings.
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