Assignment 32

September 21, 2009

I haven’t had to tie a tie in a while…
Click for complete image:

hangman thumb

It might go somewhere like this. This was exceedingly easy to execute. I didn’t bother tracing any photo sources in favor of simplicity & abstraction of the image. I wasn’t sure the last step would click, but people seem to understand it, so I now I’m going to bed.

P.S. This site is really nice:
http://convert.neevia.com/index.aspx

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Assignment 31

September 20, 2009

Monster Jobs/Template Monster logo:

monster-mash

Whoever made the Jobs logo was kind of anal, the way the borders of each color block line up. Both were grouped by color, rather than shape, making editing less than as convenient as possible.

Assignment 22

September 7, 2009


Migrant Monroe

This is a crude and kitsch bit of Photoshoping. Please do not appreciate it.

Made from two images in the public domain: Dorothea Lange’s “Migrant Mother” from the Library of Congress and a still from the trailer for “The Prince and the Showgirl” from the Wikimedia Commons.

HI RES VERSION: 4k x 5k px png (9.1 MB)

Assignment 21

September 1, 2009

Original on the left, ‘shopped on the right. All I did was clone out acne & freckles. I tried to move features around a bit as well but the only way I could figure that was the smudge tool… which of course left smudge marks, so the proportions are unchanged. As far as getting a good pictures, more thought went into the photography and lighting… It’s hard to get enough light. Our windows are small and our artificial lights are all orange-tinted. I happened to learn that high ISO settings can contribute to noise. I couldn’t get the result completely sharp… I don’t know if I moved during the slightly-longer-than-instantaneous exposure, or if the focus was actually off. Auto-focus was acting really strange.

Suppose an interview article…

I don’t think I’d much care. So much of the photographer’s hand shows in a photo anyway; you can make flattering or unflattering images of a person without digital trickery. If they were to do something ridiculous like put my head on a different body I might be amused but I don’t think I’d be offended.

Assignmnet 20

September 1, 2009


This picture is interesting because like the Kent State photo, it’s so iconic. I had already known about the post edited out of the latter; there was an obvious change (for the better, aesthetically) when you saw both versions. But the Beetles picture is more subtle. It demonstrates how the collective culture and consciousness can change, both in the shift of values leading to the removal of the cigarette, and in the actual change to the image.

Pixel Perfect
“When I see a print, I could probably tell you if it was a Pascal print,” Charlotte Cotton, the head of photography at the Los Angeles County Museum of Art, said. “It’s immaculate, and there’s a kind of richness to the pixellation. It feels like you could almost sink your finger into it.”
It sound strange to me that a digital print could have any such sublime richness to it. What I have learned says that pixels are just pixels. There is a brightest and a darkest and 254 other shades in between. Sometimes novice pixel (isometric) artists try to work large and then scale down their art, to achieve “sub-pixel detail”; there is, of course, no such thing. (unless maybe you’re crazy enough to mess with sub-pixel rendering on LCDs) I looked up some of Dangin’s work and he seems to change quite a lot in his photos, if subtly. I’d call it more “photomanipulation” or even moving toward “matte painting”; “retouching” implies only minor changes.

On Daniel Canogar’s Horror Vacui: The size of the installed work is significant. Up to a point, the image of hands together could be created without manipulation or trickery, just by putting a bunch of people together and having them reach out to the same place. But as the work gets bigger, the crowd behind the image would have to get more and more dense, until it wouldn’t be possible to continue. There would be some size after which trickery would have to come into the work, and by lining walls with the image, Canogar had gone well beyond that size. What’s more, the image tiles, implying infinite expansion through mechanical repetition.