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Dept. of Chemical Engineering & Applied Chemistry - Mahadevan Lab, Faculty of Applied Science & Engineering, University of Toronto
Photo by Sara Collaton
Collecting B-Roll in Fells Point Baltimore. Fuji Provia 100F Cross Proccessed taken with an Olympus Infinty and scanned on an Epson V600.
Made in Processing. Thanks to Chris Riebschlager for his
brilliant code: blog.the816.com/post/40438345149/pixelplaid-heres-a-quick...
photoshopped* version of www.flickr.com/photos/razornl/4357622243
What I did: I took the original drawing, resized it to 10%, blurred a bit, then resized it back to 100%. This is the result. Pretty/scary.
actually this looks more like what I see while I'm drawing. I work at rather dimmed lighting, so that my perception is somewhat like what you see here instead of the actual scribblings I have to make to produce it.
I never expected that stripping all the detail from the original would produce something like this. Surprising for me it shows quite well what was there for me to work with.
best viewed large and from varied distances.
* gimped actually.
...so I finally caved in a took some shots in the RAW mode (well I took them JPG + RAW). I've long been conflicted about processing images too much, however, what finally convinced me is that especially on night shots I can modify things in 2 seconds - things that I'd have to spend minutes to experiment with on the camera. For instance, (as was pointed out in a recent comment) you can slide the WB to get one you like. This is the same as taking lots of pics - typically I will attempt the same shot in several WB modes. Similarly you can switch to Landscape mode or add saturation. These are all things I do on the camera anyway. In addition, if I play with these things in RAW (using a Canon program that came with the Rebel) I will learn more about when to use each - and this will help me achieve my main goal which still remains: taking the best shot right off the camera.
Messing with WB and saturation in RAW does not seem like cheating so I will probably take all crucial shots (and most night shots) in RAW from now on.
In some instance you are under pressure to hurry up. Often other people get impatient. Often you run out of time. Often stuff moves or nice light ends. Often you get eaten up by mosquitos (like today when I took this). Therefore often I don't have time to try 3 WBs and 2 saturation setting for each shot. RAW helps get more and better pictures faster.
In this I only changed the WB slightly and changed it to Landscape mode.
From 1999-2001, Reas was a graduate student and researcher at the Massachusetts Institute of Technology's Media Lab. After twenty-eight years of drawing, playing video games, drumming, and designing information systems, his nascent talent for writing software forged these disparate interests into a new path. Building on his professional experience and undergraduate studies in design at the University of Cincinnati, he spent the next two years developing software and electronics as an artistic exploration. After graduating, Reas began to exhibit his software and installations internationally in galleries and festivals.
In August 2001, Reas moved to Italy. As one of the founding professors at the Interaction Design Institute Ivrea, Reas worked with an international student body to develop a new arts pedagogy for the present cultural and technical environment. Simultaneously, Reas initiated Processing with Ben Fry. Processing is a programming language and environment for people who want to program images, animation, and sound. It is used by students, artists, designers, architects, researchers, and hobbyists for learning, prototyping, and production. It is created to teach fundamentals of computer programming within a visual context and to serve as a software sketchbook and professional production tool.
After two years in Italy, Reas moved to Los Angeles. As an assistant professor in the department of Design | Media Arts at UCLA, Reas interacts with undergraduate and graduate students to push the boundaries of art and design. His classes provide a foundation for thinking about computers and the Internet as a medium for exploration and set a structure for advanced inquiry into synthesis of culture, technology, and aesthetics.
Tests with Toxiclibs lattice mesh builder. Inspired by Ernst Haeckels Art forms of Nature. Using GLSL shading. Get the complete Processing project: www.brian-steen.com/sketches/_110425_meshLattice02.zip
Couldn't decide which version to upload so I uploaded both.
The most trying part about this shoot was the lights. The owner of the car and the house refused to let me have an electric connection required for my lights. (No battery packs owned sadly) I really wanted to shoot here so I had to make do with a SB-800 and reflector.
This photograph was a last minute decision. I was shooting an old house close by when I discovered this car. I know it's a Plymouth, I am still trying to figure out what model.
It has the front of 1957 Plymouth Fury but it's a 4 door and also resembles the '58 Savoy. The Savoy however has a twin headlamp assembly.
I did go back and convince the owner to let me plug in my lights and while the power company decided take a break right when the skies were perfect I still have some decent shots.
I'll upload them later if they don't seem too repetitive.
The sun rose on fields
snow blown and misted
ghostly swirls and dervishes.
No fog this——
for fog simply lies.
No——this was living
as it arched and twisted,
fingering out to the road
and reaching for me
like the shade of a beloved friend.
There was white inside,
trying to seep out of pores,
I felt it strain
trying to mesh and meld
with this sentient wraith
fingers touching
joining
and suddenly
I am the morning mist
dancing in the crystal air.
~Lisa Shields
A few photos of select pages of my process book for my honours project.
The book serves as the 'glue' of my project, describing the processes I went through throughout the year, as well as illustrating them with photos
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Homage to a print that Jared Tarbell sent me a while ago. Thanks for the inspiration JT (though yours is much more elegant... nice trick with the black orb with multiple specular highlights... sublime!). Rendered out at 5000x5000. Check the fullsize to see the detail.
Decided I wanted more control over the resulting forms. To do this, I had to tone down the movement possibilities for each of the particles so there would be a greater chance the particles would spread out evenly over the surfaces of the gravity spheres. End result... hairy spheres!!! Heh, I said 'hairy spheres'. Check the hi-res versions to see the detail.