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There is no diagram for this model, Tom Hull learnt it from Fujimoto while he was in Japan and taught it during OUSA 2018. It is a recursive model and is also Iso area although one side has one less level than the other.
This model is almost the same as Hydrangea's Anagram that I independently discovered a while ago, just that the loose corners point to the center instead than to the corners as in mine.
Folded from a square of tant paper of 30 cm on the side.
Omaggio a Edward Weston. Cauliflower: Hommage to Edwars Weston. Best seen large.
I've always been fascinated by this remarkable vegetable, which illustrates a subtle point about morphogenesis that has eluded even D'Arcy Thompson, namely the relationship between self-similarity and recursivity. Indeed, in order for the same shape to emerge at different size scales, it is necessary that the morphogenetic constraint responsible for the shape at one given scale includes itself at any smaller scale.
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Deformations of the Sierpinski tetrahedron.
Bending Light #72
Somewhere in space fragments of rainbows are collected for recycling.
For new viewers.
A complex combination of refraction patterns made in the camera, projected directly on to 35mm colour film from a combination of glass and plastic. A light beam is passed through a specially prepared plastic shape to produce a refraction pattern or 'caustic'; this pattern is then passed through a piece of textured glass to combine and produce another pattern. The final pattern is captured directly on to film. No camera lens is used - the glass and plastic replace the camera lens. Purely an analogue image - not computer generated.
Hey I know everyone comes here for photography, and primarily HDR photography at that! Well, this is "kinda" photography, in that it is, technically, a photo. The only thing more recursive is if I would have made a drawing of me taking a photo of this drawing, but, of course, I'd have to take a photo of that to so I could get it on the blog.
Normally, I hate to show work-in-progress. It kind of takes the magic out of it a bit, you know? Maybe not. I remember a few days ago at the talk, I forgot to tell the crowd, "Okay look, this all may be a real disappointment to you all when you see how it is done! Sometimes the best part of magic is not seeing the steps betwixt!" But, oh well... it was a pretty techy crowd, and they like hangin' out in Photoshop too... It's all good.
As you guys know, I think drawing is a nice way to help out with photography a bit... I think it certainly helps you to notice things. I mention a bit about that in an article here on the site (in case you missed it) called "10 Principles of Beautiful Photography".
(and don't be offended by the "Toy" camera bit... if you have a small camera... and if you are a flickrite you are probably smarter than the average bear and you have a good one... I even have an LX3 as a backup)
From Trey Ratcliff at www.stuckincustoms.com
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Lightpainting following ethanol consumption produces an increase in the ratio of shonky skulls to non-skull based imagery when compared to non-boozed-up controls.
ABSTRACT: Recent studies have indicated that consumption of ethanol prior to the waving of torches at things produces an increase in the amount of dopamine released upon cessation of waving (Garu et al, 2011). The current investigation was carried out in an attempt to determine the possible increase in the level of shonkiness displayed as a result of impaired motor function following ethanol consumption. The inclusion of skulls was purely gratuitous, and any resemblance to existing cranial osteopathic structures, either living or dead is purely coincidental. A baseline measure was not taken, and no controls were actually used, to increase the level of scientific rigour. The results were analysed using a triple-recursive-infinite-ANOVA, with bells on. The results indicated that skulls occurred in 100% of the images studied (n=1) and a definite, dose dependent increase in shonkiness was observed. The findings of the previous study were confirmed, and a measurable increase in dopaminergic activity was recorded following cessation of the waving of the torch.
It's far too cheery looking for what was intended to be Goth light painting, but I guess even non-corporeal photonic skulls get to party too.
Koen Klinkers likes to fold flagstone tesselations. and he does it wonderfully. you should definitely have a look at his pictures!
recently he came up with the great idea of repeating the the "trinagles and trapezoids" pattern in a somewhat fractal manner. I loved this very much and had to fold it immediatedly, too. I used satogami paper which is quite lovely.
The image above is really ugly!
Please look at it at original size (less than 2 Mb).
L'immagine sopra è proprio brutta!
Per favore, guardatela in dimensione originale (meno di 2 Mb).
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This is an attempt to convert a digital photo in something looking like a Roy Lichtenstein artwork... my students, at the Funadium photography online tutoring, sometimes make me very strange requests! Maybe because we talk of a lot of other things that seems totally unrelated to photography, too, because to speak just of photography could become boring.
For the few who don't know who Roy Lichtenstein was, here it is the usual Wikipedia page, and some artworks can be found on Google Images.
Everything is made with the standard tools of The Gimp, without to add anything to it.
If you don't have The Gimp, download your own copy: no need to look on Emule for a bootleg copy, like for other famous softwares, because The Gimp is free!
If you want to try with your own photo, here it is what I do, step by step. In square [] parenthesis there is a reference to to menu to select, and you'll find the values used by me. Feel free to change these values to fit your own image.
This seems a long procedure, but it takes just a 5 minutes, when you know what to do.
And don't be afraid to make a mistake: the Gimp Undo is your friend.
1) Duplicate the original image [Image - Duplicate]
2) Close the original image [File - Close]
3) Save the duplicated image [File - Save] with the extension .xcf, the Gimp native format preserving all the informations
4) Duplicate the Backgroud layer [Layer - Duplicate Layer]
5) Rename the new layer and call it Newspaper [in the Layers, Channels, etc. window right click the Background Copy layer and choose the menu Edit Layer Attributes...]
6) Reduce the number of colors of the Newspaper layer (be sure it is the one evidenced in the layers list) [Colors - Posterize...] - the Posterize levels value used by me is 7
7) Blur the borders of the image, to have a smoother color transition [Filters - Blur - Gaussian Blur...] - the values used by me are: Blur Radius 6, method IIR
8) Remove speckles from the image [Filters - Enhance - Despeckle...] - the values used by me are: Adaptive OFF, Recursive ON, Radius 5, Black level 2, White level 254
9) Apply the newspaper-like filter [Filters - Distorts - Newsprint...] - my values: Input SPI 72, Output LPI 12.0, Cell size 6, Separate to CMYK, Black pullout 100%, Spot function for every color PS Square (Euclidean dot), Oversample 15
At this point you have you image looking like a photo printed on a cheap newspaper, but still the black thick borders typical of Lichtenstein are missing. To make them by hand is a boring job, but we have the Gimp making them for us.
BTW, the procedure to make the borders it totally separated by the newspaper effect so, if you want, you can apply just this one to your images.
10) In the Layers, Channels, etc. window, click on the Background layer to make it active
11) Duplicate the Backgroud layer [Layer - Duplicate Layer]
12) Rename the new layer and call it Borders [in the Layers, Channels, etc. window right click the Background Copy layer and choose the menu Edit Layer Attributes...] - if it is not the one at the top of the layer list drag and drop it to the top
13) Blur a bit the image, to make it smoother and remove little details, like my beard hairs [Filters - Blur - Gaussian Blur...] - the values used by me are: Blur Radius 3, method IIR
14) Trace the edges [Filters - Edge-Detect - Edge...] - my values: Algorithm Gradient, Amount 10, Wrap
15) Invert the image [Colors - Invert]
16) Desaturate the image [Colors - Desaturate...] - my shade of gray is based on Luminosity
17) Raise the contrast, to get rid of small lines [Colors - Brightness-Contrast...] - my values: Brightness 0, Contrast 36
18) Grow the darker areas [Filters - Generic - Erode]
19) Blur again [Filters - Blur - Gaussian Blur...] - the values used by me are: Blur Radius 3, method IIR
20) Make the white color transparent, to have just the dark borders [Colors - Color to Alpha...] - choose a full white (#FFFFFF)
Almost done! Now we can take care of small details, like the reflections in the eyes, add captions and cartoon-like audio effects, etc.
Don't forget to save very often!
I explain you just how to recover the eye reflections, since they are not very easy. BTW, this is the only enhancement requiring you a direct intervention on the image: all the rest until now was made using just menus.
21) Disable the visualization of the Borders layer poking the little eye (ouch!) on the left of the layer thumbnail in the Layers, Channels, etc. window
22) Make the Newspaper layer active clicking on it in the same list
23) Reduce the opacity of the Newspaper layer to 20% using the slider at the top of the layer list, to see the Background layer through it
24) Add a layer mask to the Newspaper layer [in the Layers, Channels, etc. window right click the Newspaper layer and choose the menu Add Layer Mask...] - initialize it to White (full opacity)
25) Now, in the Layers, Channels, etc. window, you have, on the right of the Newspaper thumbnail, a small white rectangle: it is the mask, and everything is black on it is a "hole" to see through it. When a layer has a mask, the active part (the layer or the mask) is evidenced by a white border, and the other one has a black border. To change the activity field between the layer and its mask you must click on the thumbnails.
26) Make the Newspaper mask active [click the white rectangle - of course you can't see the white border, but the black one disappears]
27) Zoom the image at least at 400%
28) Choose the Paintbrush from the Tools palette or from the menu Tools - Paint Tools - Paintbrush
29) Check to have a black foreground color (under the Tools palette)
30) For the paintbrush use: mode Normal, opacity 100% and select the Circle Fuzzy (19) as brush - the Scale parameter must be adapted to your image and allows you to have larger or smaller brushes
31) Paint in black ("dig a hole in the mask") the parts you want to see from the original Background layer
32) Make the mask inactive clicking on the Newspaper thumbnail
33) Restore the layer opacity to 100% - at this point you must see the original background through the mask hole
34) Restore the Borders visibility clicking on the first blank button on the left of the layer thumbnail
35) Repeat the procedure from 25) to 33) for the Borders layer
36) Zoom back at 100% to check the result
37) Save a copy of the image as .JPG [File - Save a Copy...], reply Export to the message telling JPG can't handle transparency and set the Quality to 100%
38) Publish on Flickr
39) Be prepared to reply to a lot of nice comments
For more details you can read the official Gimp manual.
At this point there will be something, as usual, telling "Hey, that's no more a photography!"
Did I state the result is a photography, somewhere?
This is just a bunch of numbers corresponding to colored pixels, like every other digital image, even those "coming directly from the camera, wow!".
The difference between a film photography and a digital one is, IMHO, the same between a sailboat and a motoryacht.
Both stay in the water, require a coat of antifouling paint and crash on rocks... but don't try to ask a sail owner which one is better, if you don't want to be heavily insulted.
ANYWAY THIS IS NOT A CRAPPY VIDEO!!!!
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Questo è un tentativo di convertire una foto digitale in qualcosa che somigli a un'opera di Roy Lichtenstein... i miei studenti, ai tutoring online di fotografia Funadium, qualche volta mi fanno delle richieste molto strane! Forse perché parliamo anche di un mucchio di altre cose che possono apparire totalmente scollegate dalla fotografia, perché parlare sempre di fotografia può diventare noioso.
Per i pochi che non sanno chi fosse Roy Lichtenstein, ecco la solita pagina di Wikipedia, ed alcune opere si trovano con Google Images.
Tutto quanto è stato fatto usando le potenzialità native di Gimp, senza aggiungere alcunché.
Se non avete il Gimp, scaricatevene una copia: nessun bisogno di cercarne una pirata con Emule, come per altri software più famosi, perché Gimp è gratis!
Se volete provare con la vostra foto, ecco cosa ho fatto, passo per passo. Tra parentesi quadrate [] ci sono i riferimenti ai menu da selezionare, e troverete i valori usati da me. Cambiateli pure per adattarli alla vostra immagine.
Sembra una procedura lunga, ma è un lavoro di 5 minuti, quando si sa cosa fare.
E non abbiate timore di sbagliare: la funzione Annulla è vostra amica!
1) Duplicate l'immagine originale [Immagine - Duplica]
2) Chiudete l'immagine originale [File - Chiudi]
3) Salvate l'immagine duplicata [File - Salva] con estensione .xcf, il formato nativo di Gimp che preserva tutte le informazioni
4) Duplicate il livello Sfondo [Livelli - Duplica livello]
5) Rinominate il nuovo livello e chiamatelo Giornale [nella finestra Livelli, Canali, ecc. fate un click destro sul livello Sfondo copia e scegliete il menu Modifica attributi di livello...]
6) Riducete il numero di colori del livello Giornale (accertatevi che sia quello evidenziato nella lista dei livelli) [Colori - Posterizza...] - il numero di Livelli di posterizzazione usato da me è 7
7) Sfocate l'immagine, per avere una transizione più morbida tra i colori [Filtri - Sfocature - Gaussiana...] - i valori usati da me sono: Raggio di sfocatura 6, metodo IIR
8) Smacchiate l'immagine [Filtri - Miglioramento - Smacchiatura...] - i valori usati da me sono: Adattivo NO, Ricorsivo SI, Raggio 5, Livello del nero 2, Livello del bianco 254
9) Applicate il filtro effetto giornale [Filtri - Distorsioni - Effetto giornale...] - i miei valori: CPP in ingresso 72, LPP in uscita 12.0, Dimensione cella 6, Separa in CMYK, Estrazione del nero 100%, Funzione spot per ogni colore Quadrato PS (punto euclideo), Sovracampionamento 15
A questo punto avete la vostra immagine che sembra una foto stampata su un giornale di bassa qualità, ma mancano ancora i bordi spessi tipici di Lichtenstein. Farli a mano sarebbe un lavoro noioso, ma abbiamo il Gimp che li può fare per noi.
A proposito, la procedura per fare i bordi è totalmente separata dall'effetto giornale quindi, se volete, potete applicare solo questa alle vostre immagini.
10) Nella finestra Livelli, Canali, ecc., cliccate sul livello Sfondo per renderlo attivo
11) Duplicate il livello Sfondo [Livelli - Duplica livello]
12) Rinominate il nuovo livello e chiamatelo Bordi [nella finestra Livelli, Canali, ecc. fate un click destro sul livello Sfondo copia e scegliete il menu Modifica attributi di livello...] - se non è il primo della lista livelli trascinatelo in cima alla lista
13) Sfumate un po' l'immagine, per farla più soffice e rimovere piccoli dettagli, come i peli della mia barba [Filtri - Sfocature - Gaussiana...] - i valori usati da me sono: Raggio di sfocatura 3, metodo IIR
14) Tracciate i bordi [Filtri - Rilevamento margini - Spigoli...] - i miei valori: algoritmo Gradiente, Quantità 10, Avvolgi
15) Invertite l'immagine [Colori - Inverti]
16) Desaturate l'immagine [Colori - Desaturazione...] - le mie sfumature di grigio sono basate su Luminosità
17) Alzate il contrasto, per eliminare le linee più sottili [Colori - Luminosità-Contrasto...] - i miei valori: Luminosità 0, Contrasto 36
18) Allargate le aree scure dell'immagine [Filtri - Generici - Erodi]
19) Sfocate di nuovo [Filtri - Sfocature - Gaussiana...] - i valori usati da me sono: Raggio di sfocatura 3, metodo IIR
20) Rendete il colore bianco trasparente, per avere solo i bordi scuri [Colori - Colore ad Alfa...] - scegliete un bianco pieno (#FFFFFF)
Quasi finito! Ora possiamo prenderci cura dei piccoli dettagli, come i riflessi negli occhi, aggiungere fumetti ed effetti audio da cartoon, ecc.
Non dimenticate di salvare molto spesso!
Vi spiego solo come recuperare i riflessi negli occhi, visto che non è molto semplice. Tra parentesi, questo è l'unico miglioramento che richiede un intervento diretto sull'immagine: tutto il resto finora è stato fatto usando solo i menu.
21) Disabilitate la visualizzazione del livello Bordi cliccando l'occhio (ahi!) a sinistra dell'iconcina del livello nella finestra Livelli, Canali, ecc.
22) Rendete attivo il livello Giornale cliccandolo nella stessa listar
23) Riducete l'opacità del livello Giornale a 20% usando il cursore sopra la lista dei livelli, per vedere il livello Sfondo attraverso di esso.
24) Aggiungete una maschera di livello al livello Giornale [nella finestra Livelli, Canali, ecc. fate click destro sul livello Giornale e selezionate il menu Aggiungi maschera di livello...] - inizializzatela a Bianco (opacità completa)
25) ora, nella finestra Livelli, Canali, ecc., avrete, a destra dell'iconcina del Giornale, un rettangolino bianco: è la maschera, e tutto quanto è nero è un "buco" per vederci attraverso. Quando un livello ha una maschera, la parte attiva (il livello o la maschera) è evidenziata da un bordino bianco, mentre l'altra parte lo ha nero. Per cambiare il campo di attività tra un livello e la sua maschera bisogna cliccare sulle iconcine.
26) Rendete attiva la maschera del livello Giornale [cliccate il rettangolino bianco - naturalmente non potete vedere il bordo bianco, ma quello nero sparisce]
27) Zoomate l'immagine almeno al 400%
28) Scegliete lo strumento Pennello dalla finestra degli strumenti o dal menu Strumenti - Disegno - Pennello
29) Verificate di avere il nero come colore di primo piano
30) Per il pennello usate: modalità Normale, Opacità 100% e selezionate come Pennello il Circle Fuzzy (19) - il parametro Scala deve essere adattato alla vostra immagine e vi permette di avere pennelli più grandi o più piccoli
31) Dipingete di nero ("fate un buco nella maschera") le parti che volete vedere dal livello originale Sfondo
32) Rendete inattiva la maschera cliccando sull'iconcina del livello Giornale
33) Ripristinate l'opacità del livello a 100% - a questo punto dovreste vedere lo sfondo originale attraverso i buchi della maschera
34) Ripristinate la visibilità del livello Bordi cliccando sul primo bottone bianco a sinistra dell'iconcina del livello
35) Ripetete la procedura da 25) a 33) per il livello Bordi
36) Zoomate indietro a 100% per verificare il risultato
37) Salvate una copia dell'immagine in formato .JPG [File - Salva una copia...], rispondendo Esporta al messaggio che vi avvisa che il JPG non può gestire la trasparenza ed impostando la Qualità a 100%
38) Pubblicate la foto su Flickr
39) State pronti a rispondere ad un mucchio di gentili commenti
Per più dettagli potente consultare il manuale ufficiale Gimp (in italiano).
A questo punto ci sarà qualcuno che dice, come al solito, "Ehi, ma quella non è più una fotografia!"
Ho affermato da qualche parte che il risultato è una fotografia?
Questo è solo un mucchio di numeri corrispondenti a pallini colorati, come qualsiasi altra immagine digitale, comprese quelle "come è uscita dalla macchina, wow!"
La differenza tra una fotografia su pellicola e una digitale è, secondo me, la stessa che c'è tra una barca a vela ed una a motore.
Entrambe stanno nell'acqua, hanno bisogno di una mano di antivegetativo e si schiantano sugli scogli... ma non provate a chiedere ad un velista cosa è meglio, se non volete essere insultati pesantemente.
IN OGNI CASO QUESTO NON È UN VIDEO!!!!!!
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I was with nothing to fold and then I saw Andrew Hudson's recursive version of this and decided to try it. I still haven't succeeded in Andrew's version but the basic unit seemed nice enough as to post it.
Folded from a square of colored kraft paper of 15 cm on the side.
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This image and its name are protected under copyright laws.
All their rights are reserved to my own and unique property.
Any download, copy, duplication, edition, modification,
printing, or resale is stricly prohibited.
*******************************************************************************
Best viewed large
Made with Mandelbulb 3d
See more photos and abstract drawings in my gallery on DeviantArt:
Thank you!
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This image and its name are protected under copyright laws.
All their rights are reserved to my own and unique property.
Any download, copy, duplication, edition, modification,
printing, or resale is stricly prohibited.
*******************************************************************************
Best viewed large
Made with Mandelbulb 3d
See more photos and abstract drawings in my gallery on DeviantArt:
Thank you!
Best viewed large
Made with Mandelbulb 3d
See more photos and abstract drawings in my gallery on DeviantArt:
Thank you!
Part of my Recursion set.
A recent photo by Seb Przd remembered me of the book Gödel, Escher, Bach: an Eternal Golden Braid, and I thought it would be fun to use the page that displays Escher's Print Gallery to make a similar effect. Original picture here.
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This image and its name are protected under copyright laws.
All their rights are reserved to my own and unique property.
Any download, copy, duplication, edition, modification,
printing, or resale is stricly prohibited.
*******************************************************************************
Modeled in Structure Synth. Rendered in Sunflow using 'path' global illumination.
Structure Synth EisenScript:
aa
rule aa maxdepth 4
{
{y 1} arc
{y -1} arc
{ry 15 y 2 s 0.9 rz 35 hue 10} aa
{ry 15 y -2 s 0.9 rz -35 hue 10} aa
}
rule spike
{
35 * {z 0.9 ry 5 s 0.9} box::shiny
}
rule spike
{
35 * {z 0.9 ry -5 s 0.9} box::shiny
}
rule spike
{
35 * {z 0.9 ry 10 s 0.9} box::shiny
}
rule spike
{
35 * {z 0.9 ry -10 s 0.9} box::shiny
}
rule arc
{
20 * {ry 12}
1 * {x 10}
spike
}
{s 7 z 5 color white} sphere::light
Testing the new alpha code with the droste effect. Looks like I finally got it to work. Yay! And much thanks to Breic for his great contributions.
Stacked plastic gears (the grey one is a Lego gear) in an infinite spiral. See its variation here.
strobists: 1/4 power Sigma EF-500 DG Super into silver umbrella 45° opposite camera, white foam core for fill on the shadow side, ISO 100, f/8, 1/100s.
©2008 David C. Pearson, M.D.
Ben Goldberger is an interesting origami artist from Israel whom I had the opportunity to meet at CDO Convention 2018. You should definitely check out his work, especially if you are interested in recursive, fractal-like models. One of his models which I really liked is this spider on a web, which combines geometric and figurative origami.
I used this model to test a sheet of paper which is sold by IKEA under the name Givande and which I got my hands on courtesy of Aleksander Biestek. It is sold as a gift-wrapping paper and it feels like a thin Kraft paper. It is black on one side and a natural brown on the other, though without the striping typical for Kraft paper. Precreasing, including reversing the creases, went well. Black paint did not come off the folded creases, as happens with some painted papers, and since good black papers are hard to come by, this alone makes this one worth evaluating. Thinness made it possible to fold quite precisely. This model does not challenge the paper’s strength too much, so it’s hard to tell if it would tear after lots of precreasing or under higher tension.
So, this paper has many good properties, but apparently it was not such a good choice for this particular model. The reason is that it does not hold the crease too well and the web in this model has some folds which are rather loosely locked. Therefore, for folding this particular model, I would now choose a thicker, more sturdy paper. Still, I think Givande has a lot of potential, and, for example, for a pure square twist tessellation, it would have been OK since in such a model all pleats are tightly locked and holding the crease is not as important a paper property. It may also be a good choice for many figurative models.
The Menger Cross or Jerusalem Cube is a 3D fractal created by recursively drilling cross-shaped holes into each face of a cube. Its surface area approaches infinity while its volume approaches zero!
Goldfinches photo made from repetitions of the same photo
Created with www.dumpr.net - fun with your photos
Millard Sheets Gallery, New Works Exhibition, Sept. 2004; 4 X 5, E100G film, lightprint; inspired by Frans Cuyck van Myerop's Trompe L'Oeil with Dead Birds, c. 1670-80
- ¿Beber de la sopa primordial?
- Sí, ¡pero solo con popote!
- Sí, ¡y de ambos lados del espejo!
- ¿Y del popote?
***
Alternating between the Menger Sponge and its inverse at subsequent depths of recursion. Shown at depths 2,3,4 - cols; both starting conditions - rows. (motivated by this)
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This image and its name are protected under copyright laws.
All their rights are reserved to my own and unique property.
Any download, copy, duplication, edition, modification,
printing, or resale is stricly prohibited.
*******************************************************************************
Pentagonal remapping of a wristwatch. Another Escher/Droste style
remapping.
©2008 David C. Pearson, M.D.
"First Pick. O. L. Schwencke, lith., N.Y."
A cigar box label printed by O. L. Schwencke. Notice how a box featuring this label appears within the design of the label itself. This recursive picture-within-a-picture is called the Droste effect, which is named after the Droste cacao tin that featured an illustration of a nun holding the tin.
