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Visual Storytelling - Inspiring a New Visual Language
Visual storytelling uses graphic design, info graphics, illustration, and photography to convey information in the most elegant, entertaining, and informative way. Today, a new generation of designers, illustrators, data journalists, and graphic editors is spending the creative scope of existing visual storytelling techniques -- meeting the formidable challenge of extracting valuable new, surprising findings, and relevant stories from a daily flood of data head on.
Visual Storytelling is the first book to focus solely on contemporary and experimental manifestations of visual forms that can be classified as such. The rich selection of cutting-edge examples featured here if put into context with an introduction and text features by magazine expert Andrew Losowsky as well as interviews with the New York Times, Francesco Franchi, DensityDesign, Carl Kleiner, Antoine Corbineau, Golden Section Graphics, Les Graphiquants, and Peter Grundy.
Decal of Re-THINGing Gesture in Contemporary Sculpture Practice displayed at the floor of Esplanade Mall.
Extras at the Ministry
Every inch of the Ministry of Magic was seen on camera and to give it even more grandeur, the Visual Effects team digitally constructed set extensions. Because of its enormous size, hundreds of extras were needed to fill the Ministry – many more than anticipated, so filmmakers had to improvise.
During Harry Potter and the Order of the Phoenix, instead of hiding his crew, director David Yates put them to work as wizards and witches, milling about in the atrium. One minute, the on-set crew would be hammering and re-painting, the next, costumers were fitting them with long cloaks, white beards and wizard hats.
Ministry of Magic Atrium
Built in 2007 for Harry Potter and the Order of the Phoenix, the Ministry of Magic was one of the largest sets ever constructed for the films, which took nearly twice as long to build as the Great Hall.
For Harry Potter artists, inspiration came from everywhere. These office towers were based on a 19th century Victorian building on Tottenham Court Road, in London's West End. Set decorators also dressed each of the offices with cardboard desks and filing cabinets, because the weight of regular props would have been far too heavy for the tall sets.
To create what he calls 'the Ministry Look' Stuart Craig drew his inspiration from the oldest London Tube stations which are covered in ceramic tile. After months of research, the construction team mimicked that look using more than 30,000 green tiles made of wood.
Ministry of Magic Fireplaces
The Ministry of Magic's enormous fireplaces stand at over 30 feet tall and are part of the Floo Network, a magical mode of transport that allows witches and wizards to travel throughout the wizarding world. Although there are only two presented here, the actual Ministry set included 17 of these massive fireplaces.
People the world-over have been enchanted by the Harry Potter films for nearly a decade. The wonderful special effects and amazing creatures have made this iconic series beloved to both young and old - and now, for the first time, the doors are going to be opened for everyone at the studio where it first began. You'll have the chance to go behind-the-scenes and see many things the camera never showed. From breathtakingly detailed sets to stunning costumes, props and animatronics, Warner Bros. Studio Tour London provides a unique showcase of the extraordinary British artistry, technology and talent that went into making the most successful film series of all time. Secrets will be revealed.
Warner Bros. Studio Tour London provides an amazing new opportunity to explore the magic of the Harry Potter films - the most successful film series of all time. This unique walking tour takes you behind-the-scenes and showcases a huge array of beautiful sets, costumes and props. It also reveals some closely guarded secrets, including facts about the special effects and animatronics that made these films so hugely popular all over the world.
Here are just some of the things you can expect to see and do:
- Step inside and discover the actual Great Hall.
- Explore Dumbledore’s office and discover never-before-seen treasures.
- Step onto the famous cobbles of Diagon Alley, featuring the shop fronts of Ollivanders wand shop, Flourish and Blotts, the Weasleys' Wizard Wheezes, Gringotts Wizarding Bank and Eeylops Owl Emporium.
- See iconic props from the films, including Harry’s Nimbus 2000 and Hagrid’s motorcycle.
- Learn how creatures were brought to life with green screen effects, animatronics and life-sized models.
- Rediscover other memorable sets from the film series, including the Gryffindor common room, the boys’ dormitory, Hagrid’s hut, Potion’s classroom and Professor Umbridge’s office at the Ministry of Magic.
Located just 20 miles from the heart of London at Warner Bros. Studios Leavesden, the very place where it all began and where all eight of the Harry Potter films were brought to life. The Studio Tour is accessible to everyone and promises to be a truly memorable experience - whether you’re an avid Harry Potter fan, an all-round movie buff or you just want to try something that’s a little bit different.
The tour is estimated to take approximately three hours (I was in there for 5 hours!), however, as the tour is mostly self guided, you are free to explore the attraction at your own pace. During this time you will be able to see many of the best-loved sets and exhibits from the films. Unique and precious items from the films will also be on display, alongside some exciting hands-on interactive exhibits that will make you feel like you’re actually there.
The magic also continues in the Gift Shop, which is full of exciting souvenirs and official merchandise, designed to create an everlasting memory of your day at Warner Bros. Studio Tour London.
Hogwarts Castle Model - Get a 360 degree view of the incredible, hand sculpted 1:24 scale construction that features within the Studio Tour. The Hogwarts castle model is the jewel of the Art Department having been built for the first film, Harry Potter and the Philosopher’s Stone. It took 86 artists and crew members to construct the first version which was then rebuilt and altered many times over for the next seven films. The work was so extensive that if one was to add all the man hours that have gone into building and reworking the model, it would come to over 74 years. The model was used for aerial photography, and was digitally scanned for CGI scenes.
The model, which sits at nearly 50 feet in diameter, has over 2,500 fibre optic lights that simulate lanterns and torches and even gave the illusion of students passing through hallways in the films. To show off the lighting to full effect a day-to-night cycle will take place every four minutes so you can experience its full beauty.
An amazing amount of detail went into the making of the model: all the doors are hinged, real plants are used for landscaping and miniature birds are housed in the Owlery. To make the model appear even more realistic, artists rebuilt miniature versions of the courtyards from Alnwick Castle and Durham Cathedral, where scenes from Harry Potter and the Philosopher’s Stone were shot.
Essa foi feita para a Flavinha Borges do Ateliê Arte com Amor, a bonequinha foi feita baseada nas bonecas de EVA que ela faz www.flickr.com/photos/flavinhaartesanatos/ =D
Orçamentos e informações:
contato@danysabadini.com.br
I made these graphics on photoshop ( all except Bert and Ernie!) and created a visual timetable for the children so they know what to expect during their day.
Design de identidade visual para a Casa dos Sentidos + Jardim Sensorial (PR - Brasil) que consiste em marca e identidade gráfica. Todas as formas e objetos projetados surgem dos elementos essenciais da geometria.
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É um projeto cultural promovido pela Montenegro Produções que acontecerá em 2021. Ambos formam a maior exposição interativa do sul do país, que trará ao público sensações e estímulos a partir de leituras poéticas de cenários cotidianos e naturais, sob a ótica do universo autista. Novos artistas também integram a programação da mostra, que depois de Curitiba seguirá para Ponta Grossa.
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A partir de abril de 2021, no ParkShopping Barigui. Mais informações www.montenegroproducoes.com
I'll try to tell you the feel of the moment at this sight.
Do you see slow movement of the water, the dancing glare of the sun, do you hear my shoe steps on the grass, my breathing and the beat of my heart, did you see that tiny fish escaping in the hide, and that slow movement of the shades in between the reeds singing the lullaby, the whisper is lost, look, listen to the tiny air bubble burst
Two towers, built decades apart appear in harmony. The Art Deco tower on the left, known as The Jewelers Building, was built by 1926. The exterior is clad in terra cotta tiles and topped with a large dome, reputed to have been a speakeasy frequented by Al Capone. It is now an architectural office. The art Deco style is moderated by Roman, Greek and Gothic details in the façade treatment. The corner turrets were originally water tanks for the tower's fire suppression system.
The Kemper Tower, a contemporary office building, features vertical columns and window treatments in keeping with the adjacent Art Deco tower.
Double colour, used water coloured pencils in the background sometimes I think it looks ok other times I hate it, but no going back I have to finish my mission!
IR HDR. IR converted Canon 40D. Canon 17-55 F2.8 IS lens. Shot at ISO 100, F16, AEB +/-3 total of 7 exposures processed with Photomatix. Levels adjusted in PSE.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
Ms. Nakako Yagisawa presented one of her practices during Share a Method, and I was lucky enough to be in her group. She showed us an icebreaker called Project that had everyone laughing and tossing balls to one another. It was a great metaphor for the tension many of us feel between routine work that goes on day-to-day, and the project work that sometimes gets tossed in from nowhere!
Justice for Grenfell: the Grenfell Tower community one month after the June 14 2017 fire and the death of at least 80 people: North Kensington, Royal Borough of Kensington and Chelsea (RBKC), West London, London, U.K., Saturday, July 14, 2017.
Entry for the recent DP Challenge "Visual Puns"
Got in top 10 in this with a strong PB of 6.7 :) Very happy
flickriver.com/photos/javier1949/popular-interesting/
Boamistura en el Mercado de la Cebada 2013 Plaza de La Cebada Madrid
El Mercado de la Cebada es uno de los más emblemáticos de la ciudad de Madrid, situado en La Latina, uno de sus barrios más castizos. El primer mercado de La Cebada, realizado en hierro, se inaugura por Alfonso XII en 1875 y se mantiene en pie hasta 1956. Seis años más tarde se inaugura el edificio actual, levantado en estructura de hormigón y fachadas de ladrillo según proyecto de los arquitectos Antonio García de Arangoa, Herrero Palacios y Martinez Cubells. Las obras se ejecutan entre 1959 y 1962.
En 2009 se proyecta su derribo, junto con el de la Instalación deportiva aneja, donde hoy se alza El Campo de Cebada, sin embargo, el mercado resiste y sobrevive, y ha logrado reinventarse gracias al trabajo del colectivo madrileño Boamistura. La nueva fachada destaca por su colorido y formas. Colores, iconos, palabras, y dibujos se plasman en la fachada donde aparecen elementos orgánicos (agua, carne, viento o ladrillo) que según sus autores refuerzan el concepto de optimismo buscando una mayor riqueza visual, más fresca y divertida. El resultado es un "collage" a imagen del mercado y su barrio, en el que las llamativas cúpulas son pieza fundamental de la intervención. La fachada realizada es el mural de arte urbano más grande de España, y uno de los mayores jamás realizado en Europa.
Cada cúpula presenta un tratamiento propio según su "personalidad", pintada de colores distintos -rojo, verde, azul, amarillo, naranja y morado- en recuerdo de los productos y alimentos que se pueden encontrar en el interior del mercado, y servirán de soporte para la palabra "color", escrita en blanco mediante anamorfosis. Esta técnica en perspectiva consiste en utilizar el arte para forzar al observador a un determinado punto de vista desde el cual el elemento cobra una forma proporcionada y clara. En este caso, sólo desde un punto concreto, en una de las cúpulas, se puede leer la palabra "color" mientras que desde el resto se aprecia una composición abstracta de planos blancos sobre las cúpulas de colores. En la decoración se han empleado 2.000 kilos de pintura, 40 rodillos extensibles y unas mil horas de trabajo por parte de un equipo de 15 personas. Ahora el mercado inicia una nueva etapa remozando su fachada con un proyecto que aporta una nueva imagen al exterior y al interior del edificio, donde habrá un espacio abierto al público dedicado a diferentes expresiones del optimismo. La plataforma MyMayorCompany y la Liga de los Optimistas Pragmáticos se encargarán de aportar contenidos y actividades para llenar de optimismo el interior del mercado.
Un OBJETIVO, LA VISIBILIDAD: tres agentes dispuestos a sacar al mercado de su ostracismo unen sus fuerzas: los representantes del mercado, que piden a gritos un cambio pero no tienen los medios; una firma comercial, J&B, que tiene los recursos y ganas de meter la cabeza en el mundo de la cultura y por último Boamistura, un colectivo de artistas urbanos expertos en estas lides y catalizadores del cambio. “Esperamos que esta intervención funcione como un grito del mercado, de su deseo de continuar”. “Cuando nos acercamos por primera vez al mercado para determinar cuál podría ser nuestra intervención allí, reparamos en que las cúpulas era el elemento con más personalidad del edificio, por lo que había que resaltarlo. Una vez arriba nos dimos cuenta de que nos encontrábamos en uno de los lugares más mágicos en los que habíamos estado nunca: un extraño y poco común paisaje de espacios semiesféricos que competía con los tejados y el "skyline" de la ciudad: el Palacio Real, la catedral de la Almudena, San Francisco el Grande... Y, sin embargo, las cúpulas del mercado, en sus tonos óxidos, estaban tan interiorizadas, que nos parecía que habían desaparecido. Recuperarlas era el desafío”.
COLOR. Ese es nuestro siguiente capítulo. Comienza el debate: ¿intervenir una cúpula? ¿dos? ¿tres? “Si confiáis en nosotros, dejadnos trabajar sobre las seis”, plantearon los artistas. Y así estas comenzaron a teñirse cada una de un color: rojo, amarillo, verde... Sin embargo, no toda la superficie se cubría de forma homogénea con la misma tonalidad. En cada una, empezaban a reservarse superficies blancas. ¿La razón? “Para responder a esa pregunta hay que subir a la cúpula azul. Desde allí, en un punto determinado, la mirada aplana todo el paisaje circular y convierte los trazos blancos de las seis cubiertas en una palabra: Color. Se trata de una técnica conocida como anamorfosis muy común en la labor de este colectivo y con el que se sienten muy identificados.
Este es un proyecto que se construye de arriba abajo: “Es como si las cúpulas fueran el germen de un color, que en las alturas se verbaliza y desde allí comienza a resbalar y a desparramarse por las paredes del mercado”. Porque ahí no acaba la intervención de Boamistura: dos de las fachadas del edificio también han sido intervenidas -la principal, dividida en dos paños, y una de las laterales, la que comunica con el Campo de la Cebada, y donde era fundamental que la aportación "mordiera" ese uso tan interesante que los vecinos dan ahora a este entorno-, contagiándose de esos colores de las cubiertas, que a su vez se inspiran en los tonos, los olores, los sabores y la vida que tiene lugar en su interior. Ello ha dado lugar a un mural que cubre una superficie total de 6.000 metros cuadrados, el mayor en España en su género. Y envolviéndolo todo, una frase: “Llena la vida de color”. Otro concepto; OPTIMISMO.
BoaMistura Boa Mistura ROCKING SINCE 2001
CINCO CABEZAS, DIEZ MANOS, UN SOLO CORAZÓN
Colectivo de artistas urbanos nacido a finales de 2001 en Madrid, España. El término “Boa Mistura”, del portugués “buena mezcla”, hace referencia a la diversidad de formaciones y puntos de vista de sus miembros. Visiones distintas que se influencian y se mezclan en favor de un resultado único. Formado por el Arquitecto Javier Serrano “Pahg”, el Ingeniero de Caminos Rubén Martín “rDick”, el Publicista Pablo Purón “Purone” y los Licenciados en Bellas Artes Pablo Ferreiro “Arkoh” y Juan Jaume “Derko”. Su obra se desarrolla principalmente en el espacio público, habiendo llevado a cabo proyectos en Sudáfrica, Noruega, Berlín o Sao Paulo. Boa Mistura ha participado en exposiciones en centros de arte como el Museo Reina Sofía, Casa Encendida o Museo DA2. Colaborado en proyectos sociales junto a fundación ONCE, Intermon Oxfam, Cruz Roja o Antonio Gala e impartido conferencias en Universidades como las de Madrid, Sevilla, Cuenca o Alcalá de Henares. //
Boa Mistura is an urban art group formed at the end of 2001 in Madrid, Spain. The term "Boa Mistura", from the portuguese for "good mixture", refers to the diversity of perspectives of each member. Distinct visions which complement each other, and combine to create something unique and coherent. The collective is composed by the Architect Javier Serrano "Pahg", the Civil Engineer Rubén Martín "rDick", Pablo Purón "Purone", graduated in Advertising and Public Relations, and two Fine Art graduated: Pablo Ferreiro "Arkoh" and Juan Jaume "Derko". The group works mainly on the public space, and have developed projects in South Africa, Norway, Berlin, Sao Paulo or Río de Janeiro. Boa Mistura have taken part in exhibitions in art galleries such as the "Museo Reina Sofía", "Casa Encendida" and the "Museo DA2". They have collaborated with foundations like ONCE, Red Cross, Oxfam and Antonio Gala, and given lectures at universities such as Madrid, Seville, Cuenca or Alcalá de Henares.
www.boamistura.com/BoaMistura_portfolio.pdf
www.colegio-abaco.com/imagenes/archivos/proyecto-boamistu...
Poem from the visual poetry book SemSé. Published in edition of 100.
44 pages in color.
Every copy signed and numbered by the artist Ragnhildur Jóhanns.
The sky was great this afternoon behind the University of Toledo Center for the Visual Arts. This is a Frank Gehry building.
Photographed using a Sony Alpha A7R using a Nikkor 28mm f/3.5 rangefinder lens.
A visual journey through serene natural landscapes and intimate wildlife encounters. This collection captures the essence of coastal wetlands, dramatic rocky shores, and the delicate details of flora and fauna. The series transitions from the warm, golden hour light reflecting off tranquil marshlands and crashing ocean waves, to the quiet solitude of a wooden observation hide. It features close-up portraits of local birds, macro shots of morning dew on purple coastal flowers, and the silent atmosphere of a moonlit wooden bridge. The set also explores varied perspectives, including a crystal-clear underwater glimpse of aquatic life, an aerial view of structured water ponds, and the rustic resilience of traditional dry-stone architecture under a brooding sky. Crafted with a focus on deep textures, cinematic lighting, and a contemplative perspective on the natural world.
Please note: These images were generated by Artificial Intelligence.
Photo USE: CC BY-NC-ND 2.0 You must give photo credit: by Maggie Hallahan, Microsoft, Azure, Visual Studio. Public Institution, Non-profit NGO, Educational, Private Person, and Researchers may use this image for free. This image may not be used in Commercial: Advertising, Entertainment, or in any for-profit use with out a partnership agreement with Microsoft.