Pour VIDERPARIS, j’ai travaillé sur photoshop de manière très rationnelle, comme si j’étais une entreprise de travaux publics. J’ai ôté toute trace de vie, j’ai démonté le mobilier urbain et gardé l’architecture. J’ai aussi conservé au sol les passages piétons, les lignes continues et les bandes blanches : pour les effacer, il aurait fallu poser une couche de bitume. Ça n’entrait pas dans la logique de l’opération. Quand on veut vider une ville, on ne perd pas de temps à ça… C’est une fiction sans narration. Je ne raconte pas une histoire, je présente juste les faits. Ces images permettent d’ouvrir la fiction, de créer un puissant espace de projection.
https://www.atlasofplaces.com/research/infrastructure-patterns-i/
https://www.atlasofplaces.com/research/infrastructure-patterns-vii/
Atlas of Places is a public educational collection of Academia, Architecture, Cartography, Cinema, Essays, Painting, Photography and Research. Its objective is to question the meaning of places. It is curated according to continuously evolving philosophical, social and cultural beliefs. This is merely an occasional collection. Some works date from 1230, some from the recent past, some from the present. They have this characteristic in common that they are outlooks, in the truest sense of the word. In them will be found little more than the intention of clarifying a few ideas that might really be called political if that fine word, so attractive and exciting to the mind, did not arouse today so many great scruples and great repugnance.
Atlas of Places simply wishes to make a little clearer to itself the notions that it has received from others or that, like others, it has formed for itself — notions that everyone uses for thinking about human groups, their relations and difficulties with one another. The effort to clarify such matters is assuredly not the business of those men who practice or mix in them. This collection is the work of an amateur.
Atlas of Places is dedicated to those persons who have no system and belong to no party and are therefore still free to doubt whatever is doubtful and to maintain what is not.
Atlas of Places is curated day by day, the works shared do not pretend to show any organic development: the link between them is rather one of insistence and repetition. For while one doesn’t know whether things which are repeated are pleasing, one’s belief is that they are significant. And what is sought throughout this collection are significant features.
Atlas of Places produces cartography, satellite imagery and orthoimagery for exhibitions, editorial projects and various other mediums. This continuous production appears in the Research collection. If you wish to collaborate, please scroll down to the “Collaboration” section below.
Atlas of Places originated in the Pyrénées-Orientales during the summer of 2015 and is edited by Thomas Paturet.
Luminous-Lint is used worldwide by curators, educators, photography students, photohistorians, collectors and photographers to better understand the many histories of photography.
Originally captured as the medium for Ed Ruscha’s creative work, the more than 65,000 photographs selected from this archive present a unique view of one of Los Angeles’ quintessential streets, Sunset Boulevard, and how it has changed over the past 50 years. Ed Ruscha, with help from Getty and Stamen Design, is making this amazing collection accessible to you: explore his images of Sunset and discover your own story of Los Angeles.
ComboGAN: Unrestrained Scalability for Image Domain Translation Asha Anoosheh, Eirikur Augustsson, Radu Timofte, Luc van Gool In Arxiv, 2017.
https://arxiv.org/pdf/1712.06909.pdf
This year alone has seen unprecedented leaps in the area of learning-based image translation, namely CycleGAN, by Zhuet al. But experiments so far have been tailored to merely two domains at a time, and scaling them to more would re-quire an quadratic number of models to be trained. And with two-domain models taking days to train on current hardware,the number of domains quickly becomes limited by the time and resources required to process them. In this paper, we pro-pose a multi-component image translation model and training scheme which scales linearly - both in resource consumption and time required - with the number of domains. We demonstrate its capabilities on a dataset of paintings by 14different artists and on images of the four different seasons in the Alps. Note that 14 data groups would need(14choose2) =91 different CycleGAN models: a total of 182 genera-tor/discriminator pairs; whereas our model requires only 14generator/discriminator pairs
UNIT: UNsupervised Image-to-image Translation Networks : https://github.com/mingyuliutw/UNIT
In 1967, Swedish National Television was granted a rare interview with Victor Hasselblad at his home. In this video we also get a glimpse into the Hasselblad manufacturing facilities in Gothenburg, Sweden. The Hasselblad camera made its huge breakthrough when the American astronauts began to use it in space. The photographs of the first men on the Moon are some of the most published images in the world. The camera also figured largely for more earthbound photographers, amateurs and professionals alike, working in the fields of advertising, fashion, photojournalism, portraiture, nature, science and medicine. The idea for his camera came to Victor Hasselblad (1906-78) in his youth when he travelled around the Swedish countryside to photograph birds. Never really satisfied with his results, he began to dream about a better camera. This remarkable footage gives us an insight into the man whose idea of a camera – and camera system – is as admired today as it was ground-breaking over 75 years ago.
Andy Warhol (1928 – 1987) took a lot of photographs, making an obsessive’s visual diary of what and who we saw. Now we can see 130,000 of Warhol’s photos on 3,600 contact sheets and corresponding negatives at the Andy Warhol Photography Archive, a project run by Stanford University’s Cantor Arts Center and Stanford Libraries. “He snapped photos at discos, dinner parties, flea markets, and wrestling matches,” say notes on the archive acquired from The Andy Warhol Foundation in 2014. “Friends, boyfriends, business associates, socialites, celebrities, passers by: all captured Warhol’s attention – at least for the moment he looked through the lens.”
http://cantorcollections.stanford.edu/IT_267?sid=18&x=38732&display=thu&x=38733
Did you ever see a film that when it ends you realise you’ve not moved in your seat? I have. The Night of The Hunter is one such film. Charles Laughton’s only directorial outing stars the spellbinding Robert Mitchum as the epitome of brooding menace and undiluted evil. He is one of the greatest movie villains, killing widows for cash and satisfaction in the name of the Lord. Laughton called his film “a nightmarish sort of Mother Goose tale”. It’s better than that.
James Agee wrote the script to this haunting adaptation of Davis Grubb’s 1953 gothic novel.
Mitchum plays Reverend Harry Powell, a terrifying self-styled preacher on a mission to get at some stolen loot left by a family man hanged for his crimes. Creeping horror looms in the shadows. Stanley Cortez’s camerawork frames an otherworldly West Virginia. Unforgettable images linger: Love and Hate tattooed on Mitchum’s fingers; Mitchum riding a horse, their silhouette the only relief on a dark horizon; that submerged car carrying the dead robber’s wife Shelley Winters and Mitchum latest victim to the underworld; the children fleeing down the Ohio River, their plight seen through a spider’s web; the children’s saviour Lilian Gish sat on her stoop, gun on her lap and as she and Mitchum duet a hymn.
Pourquoi sourit-on sur les portraits photographiques au XXe siècle, et pas au XIXe siècle? Sous cette forme élémentaire, la question est devenue une énigme prisée des études visuelles. Héritière d’une longue tradition d’analyse de l’expression des émotions, elle apparaît comme une évolution historique directement observable, documentée par des sources abondantes. Découvrir la clé de cette métamorphose paraît à portée de main.
Unequal Scenes portrays scenes of inequality in South Africa from the air.
Discrepancies in how people live are sometimes hard to see from the ground. The beauty of being able to fly is to see things from a new perspective - to see things as they really are. Looking straight down from a height of several hundred meters, incredible scenes of inequality emerge. Some communities have been expressly designed with separation in mind, and some have grown more or less organically.
During apartheid, segregation of urban spaces was instituted as policy. Roads, rivers, “buffer zones” of empty land, and other barriers were constructed and modified to keep people separate. 22 years after the end of apartheid, many of these barriers, and the inequalities they have engendered, still exist. Oftentimes, communities of extreme wealth and privilege will exist just meters from squalid conditions and shack dwellings.
My desire with this project is to portray the most Unequal Scenes in South Africa as objectively as possible. By providing a new perspective on an old problem, I hope to provoke a dialogue which can begin to address the issues of inequality and disenfranchisement in a constructive and peaceful way.
Collaging like Painting with clouds...
Satellite Collections
digital prints
2009-2011
You can see from pole to pole and across oceans and continents and you can watch it turn and there's no strings holding it up, and it's moving in a blackness that is almost beyond conception.
-Eugene Cernan, an astronaut on the Apollo 17, on seeing the Earth from space
In all of these prints, I collect things that I've cut out from Google Satellite View-- parking lots, silos, landfills, waste ponds. The view from a satellite is not a human one, nor is it one we were ever really meant to see. But it is precisely from this inhuman point of view that we are able to read our own humanity, in all of its tiny, repetitive marks upon the face of the earth. From this view, the lines that make up basketball courts and the scattered blue rectangles of swimming pools become like hieroglyphs that say: people were here.
The alienation provided by the satellite perspective reveals the things we take for granted to be strange, even absurd. Banal structures and locations can appear fantastical and newly intricate. Directing curiosity toward our own inimitably human landscape, we may find that those things that are most recognizably human (a tangle of carefully engineered water slides, for example) are also the most bizarre, the most unlikely, the most fragile.
http://news.gestalten.com/motion/john-stezaker
In an image-saturated world, British collage artist John Stezaker rather creates more with less. Cutting up yesterday photographs, subtracting pieces, and juxtaposing faces, he transforms forgotten photographs and postcards into symbolic portraiture of modernism. Stezaker’s artistic interests in examining hidden relations between images have bestowed international success and recognition upon him and his collage art. Gestalten.tv had a precious opportunity to speak with the artist at his exhibition in Berlin’s Capitain Petzel Gallery. Featured in the celebrated group exhibition The Age of Collage, his topical work is now on display at Gestalten Space in Berlin until January 12, 2014. The accompanying book The Age of Collage: Contemporary Collage in Modern Art takes an insightful behind-the-scenes look at those working with this interdisciplinary and cross-media approach.
Immersive 3d space bubble. Use chrome to see it
Science nerds and photographers can join hands today and stare in awe at what a team of researchers at the Department of Energy’s Lawrence Berkeley National Laboratory managed to do. Entirely by accident, these scientists have managed to take the first ever high-res images of carbon atoms in the process of forming chemical bonds.
The team, led by Felix Fischer, were actually trying to create tiny nanostructures made of graphene — basically a one molecule thick layer of the substance graphite that has the potential to revolutionize everything from circuits to touch screens. But creating the right graphene nanostructures is a tough process, so Fischer asked to borrow Berkeley physicist Michael Crommie’s atomic force microscope, which could capture atom-level images of the molecules falling into place.
Andrew Healy aka virtualsurface turns famous photo into large dithered glitch cross-stitch:
Counted cross stitch on 14ct black aida, Wooden frame (42x39 cm).
This image of Rhianna’s bruised face is a glitch in itself - perhaps a view into the flesh-and-bones reality that exists behind a celebrity’s polished surface.
Site featuring the artwork of Jason Salavon. Work pages present a variety of projects created since 1991. The info pages include contact, CV, and publicity material. The feed contains posts, updates, and other newsy items.
A growing market,Naturally, with the number of photographers being so high.
1.Rhein II by Andreas Gursky – $4, 338.500 in 2011
2.Cindy Sherman- Untitled #96- $3,890,500 in 2011
3.Dead troops talk- Jeff Wall- $3,666,500 in 2012
4. 99 cent II Diptychon - $3,346,456 in 2007
5. The Pond-Moonlight- Edward Steichen -$2,928,000 in 2006
6. Untitled #153- Cindy Sherman-$2,700,000 in 2010
7. Billy the Kid-unknown -$2,300,000 in 2011
8. Tobolsk Kremlin- Dimitry Medvedev-$1,750,000 in 2010
9.Nude- Edward Weston-$1,609,00 in2008
10.Georgia O’Keeffe (Hands)-Alfred Stieglitz-$1,470,000 in 2006
11.Georgia O’Keeffe Nude- Alfred Stieglitz - $1,360,000 in 2006
12.Untitled(Cowboy)-Richard Prince-$1,248,000-in 2005
13.Dovima with elephants- Richard Avedon-$1,151,976 in 2010
14.Nautilus- Edward Weston-$1,082,500 in 2010
15. One-Peter Lik-$1,000,000 in 2010
16. Untangling-Jeff Wall- $1,000,000 AUD in 2006
17.Joueur d’Órgue-Eugene Atget -$686500 in 2010
18.Andy Warhol- Robert Mapplethorpe -$643,200 in 2006
19.Moonrise, Hernandez, New Mexico-Ansel Adams-$609,600 in 2006
Artist Ed Ruscha's fascination with the vernacular architecture of Los Angeles began over fifty years ago and continues to this day. In the 1960s, Ruscha started documenting the building facades along the city's major roads by taking continuous photographs with a 35mm camera mounted to a moving vehicle. His first related publication, "Everything Building on the Sunset Strip" (1966), captures an extensive stretch of the famous thoroughfare. The Streets of Los Angeles Archive, now preserved at the Getty Research Institute, includes Ruscha's comprehensive views of avenues throughout the region.
Explore the world via Google Street View. MapCrunch teleports you to a random place in the world. It allows you to explore the vast array of imagery captured by Google in 40 countries, featuring spectacular scenery, magical moments and the utterly unexplainable.
Though photo manipulation has become more common in the age of digital cameras and image editing software, it actually dates back almost as far as the invention of photography. Gathered below is an overview of some of the more notable instances of photo manipulation in history. For recent years, an exhaustive inventory of every photo manipulation would be nearly impossible, so we focus here on the instances that have been most controversial or notorious, or ones that raise the most interesting ethical questions.
Pileus is an umbrella connected to the Internet to make walking in rainy days fun. Pileus has a large screen on the top surface, a built-in camera, a motion sensor, GPS, and a digital compass. The current prototype has two main functions: photo-sharing and 3D map navigation.
The photo function is connected to a major web service: Flickr API. A user can take photo with a camera on the umbrella, and pictures are uploaded to Flickr in two minutes with context tags via a wireless Internet connection. User can also enjoy theirselves watching photo-streams downloaded from Flickr with simple operation of wrist snapping.
It also has a function of 3D Map. Detecting a location data from GPS, it shows a 3D bird view around the user. User can walk-through a city comparing the 3D views and real sights, and the map is always updated by GPS and a digital compass. It aims to create natural augmented reality with a large informatin screen on the umbrella.
These two functions can be switched by simply fliping a switch. As a future direction of its development, putting a context data on the Internet (e.g. geo-tags on photos), it will be able to provide social local-navigations and real-time in-place communications. The product aims to provide an augmentation of everyday life synchronizing information on the Internet and the real place.
Search millions of photographs from the LIFE photo archive, stretching from the 1750s to today. Most were never published and are now available for the first time through the joint work of LIFE and Google.
Compelling form of photojournalism.
The hottest market in the hottest economy in the world is Chinese real estate. The big question is how vulnerable is this market to a crash.
One red flag is the vast number of vacant homes spread through China.
Countless fragments of existing architectural photography are merged into multilayered shapes. The resulting collages introduce a third abstract point of view next to the original ones of architect and photographer.
Equipped with biometric video analyzing software, the installation detects and scrutinizes the faces of the people wishing to pass through the gate and enter the exhibition. Rather than try and identify the person, the software probes for facial features
HD photo of The Birth of Venus
Photographs taken between 1909 and 1912. In those years, photographer Sergei Mikhailovich Prokudin-Gorskii (1863-1944) undertook a photographic survey of the Russian Empire
http://www.boston.com/bigpicture/2010/08/russia_in_color_a_century_ago.html
http://www.cs.cmu.edu/~dellaert/aligned/
Depuis 2003, Myriam Lambert explore principalement le thème de la mémoire par le biais de la photographie et de l’installation.
This blog enables me to share my photographic works with you, current and past. My artistic approach. The motive of my actions.
French architect and artist
Cassandra C. Jones ( http://www.cassandrac.net ) work uses "found photography" from search engines to explore how we relate to images online.
Ahorn is an online magazine dedicated to contemporary photography, directed and edited by Daniel Augschoell and Anya Jasbar. The principal aim is to give to our readers a tool to know what's happening in contemporary photography, and to offer emerging ph
Whether the source of the word is Gaelic, German, or Naval Acronym, we know them when we see them, and on this web site, we celebrate these iconic images of mankind s eternal struggle to hammer square pegs into round holes (with duct tape.)
Urban Camouflage deals with the question how to camouflage oneself and one s identity in the urban space. Our costumes are inspired by the ghillie suits, the military camouflage suit. It was an adventure to wear the suit in the stores..
Andrei Severny photography and video installation
DPS is a community of digital photographers of all experience levels who gather around a number of blogs and a forum to learn, share and grow in their understanding of photography.
We publish images that treat subjects in unexpected ways. Alternate takes, unconventional observations, odd angles -- the photographs in the collection reinterpret traditional genres.