From Graeme Taylor:
In all my slow-motion work so far, I’ve used a static camera to capture a high-speed event. But, I wondered, what would happen if the camera was the fast-moving object? For instance, if you use a 210fps camera at 35mph, on playback at 30fps it’ll seem to the observer that they’re moving at walking pace- but everything observed will be operating at 1/7th speed.
Here’s my summer vacation photo album. All shot with an iPhone 3GS using Hipstamatic (horrible name, great app). My only gripe about the application is that you retroactively apply photo effects and filters. Why can’t you change lenses after the fact? Use different film post-shot? I mean, it’s all a programmatic effect applied to the raw data coming in from the camera lens in the first place right? The “flash” isn’t actually a flash at all…
This reminds me of a quote I read recently that even lenses will become obsolete – the digital image sensors will be so powerful that they’ll just capture EVERYTHING and using Photoshop (or whatever) you’ll be able to apply different effects, focal depths, etc. after the fact. I’m all for it, but for now having the ability to take images with different filters and effects on the iPhone is keeping me occupied (but is making me want the newer model with the better resolution camera).
I spent some time last night tweaking my drawing toy. I still need to work on adding a script to isolate areas of the composition to add definition to. So that I can get areas with more abstract lines and areas with more detail. But in general I’m happy with where it’s going.
The original:
(Role: Design Director, Original Concept. Programmer.)
I’ve been playing around with generative art in Flash for a while now. Recently I discovered how to work in using the bitmapData class in order to achieve more complex compositions. My first few tests focused on working with older photographs of myself and turning them into organic, painterly pieces.
Birthday Breakfast, originally uploaded by victor.brunetti.
Andrew Zuckerman‘s great bird photography.
Inspired by a recent post on Mulvey’s Blog, I plunked down $2.99 for the iPhone Pano App. My biggest complaint with the app isn’t the “cancel” button verbiage (as Michael points out) – though that is hella-confusing – it’s with how Apple handles images in your phone’s library that are bigger than the resoluiton offered by the built-in camera. Evidently after taking a large panorama shot, the phone will down-sample that image to match the resolution of the camera. The only way to see the original shot in it’s original fidelity is to copy/paste the image out of your library into an email (big ups to Mulv for pointing that out). Simply hitting “Email this Image” will continue to pass along the downsampled image. What’s up with that Apple?
Porter Airlines Is Amazing, originally uploaded by victor.brunetti.
(via ColorLovers)
Like many of her peers and fellow ‘light painters’ or ‘light graffiti’ artists, Vicki DaSilva was inspired by the blooming hip-hop and graffiti culture that surrounded her while living in New York City during the 80′s. What differs about Vicki’s work from other artists, like LICHFAKTOR, as one example of many talented artists who work with time lapse photography, is her creation of geometric shapes and colorful patterns. While some of her photos are created in the more usual way of light movement by hand, many of her more impressive photos involved complex pulley systems and tracks for the light source to travel down.
