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Editor LUÍS FERREIRA Management LUÍS FERREIRA Edition LUÍS FERREIRA Art Director LUÍS FERREIRA Graphic Design LUÍS FERREIRA Special Thanks MARCO SOUSA SANTOS; 311 FACTORY, LUIS FERREIRA P hotography LUÍS FERREIRA; JOÃO TAVEIRA; RUI FIGUEIREDO Composition and Commercial Department RESTART - ESCOLA DE CRIATIVIDADE E NOVAS TECNOLOGIAS CAIS PORTUGUÊS LOTE 2.11.01 AC PARQUE DAS NAÇÕES 1990/223 LISBOA TELF. +351 21 8923570 | FAX. +351 21 8923579 INFO@RESTART.PT Edition LUILEGARÇON Property LUILEGARÇON, PUBLICIDADE LDA Arrangement LUILEGARÇON LUILEGARÇON, PUBLICIDADE LDA Printing RESTART – ESCOLA DE CRIATIVIDADE E NOVAS TECNOLOGIAS CAIS PORTUGUÊS LOTE 2.11.01 AC PARQUE DAS NAÇÕES 1990/223 LISBOA TELF.: +351 21 8923570 | FAX. +351 21 8923579 INFO@RESTART.PT ERCNumber 125233 Legal Deposit Number 185063/02 ISSN 1645-5444 Copyright LUILEGARÇON, PUBLICIDADE LDA Magazine Period QUARTERLY Anual Assinature 20 EUROS Arrangement FREE MAGAZINE Drawing and Circulation 15000 COPIES Supports RESTART, 311 FACTORY, CARHARTT, Special Thanks LIGHTFACKTOR, MARKO93, CHUCK ANDERSON, JOÃO TAVEIRA, RUI FIGUEIREDO, 311 FACTORY, TROY PAIVA, PUMA, ASICS Contacts RUA DIOGO CÃO N 4 4 ESQUERDO 2635-356 RIO DE MOURO / SINTRA TELF.+351 21 9176756 / +351 96 6504496 PROFILE.MYSPACE.COM/LUILEGARCON
URBANMAGAZINE, just as the name tell us, it intends to be a magazine of popularization of themes of urban content, leaning in the most several art forms, as well as in their manifestations to the design or even to the Architecture and the Urbanization, quite linked to the slopes of the illumination, showing in this way different visual forms of the life of the city. URBANMAGAZINE is urgent in turning off an existent gap in the Portuguese Press, to people interested at the present time town at the level of magazines on Light Design and of Urban Art. She Intends to be an including magazine to converge essentially on the theme of the Illumination, materials and technology. This magazine specifically goes to a young public, lovers of the life of the city, served of inspiration and construction of new knowledge, showing a selection than best illustrates and of who intervenes in that that constitutes the everyday artistic of the city. URBANMAGAZINE is like we see a new one reviewed quarterly, and in her premiere, in her first edition she gives a matter detaches to the photographer’s and writer’s work of Troy Paiva, showing some thoughts of the artist about the power of the image and of the illumination to the human perception, as well as a retrospective to some of their interventions in the area of the film photographer and set design for some films of the great North American cinematographic machine that names Hollywood. To highlight it is also the most recent evolution of the Urban Art on the part of some European artists groups like LightFactor, that it assumes like this prominence in the main article of our magazine, revealing some of their influences and tendencies for new eventual studies, like the group of Graffiti Research Lab or Marko93 that show us new forms of producing graffiti with light, and D-Fuse, that show us equally, a interesting work already more dedicated to the VJ activity. URBANMAGAZINE in everything that is and she does intends to satisfy the lovers of urban art needs, because it is for them that this magazine exists. by Luís Ferreira
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TROY PAIVA
in lost america | 6th June 2008
The photography of Troy Paiva treats us to canted visions of a crumbling, post-industrial America — decommissioned military bases, aircraft ‘boneyards’, abandoned desert towns. The scenarios are all shot at night and the work is presented straight out of the camera, mostly untouched by Photoshopping or other post-processing techniques. Troy uses available light, such as moonlight or sodium light (the latter of course plentiful in the modern-day archaeological ruins he haunts), but he also uniquely marks the shots with his light-painting skills (the introduction of hand-held, hand-applied light during the exposure) and the unearthly effects of red, green and blue-gelled strobe flashes. The cumulative effect is startling: like stills from a David Lynch film in a parallel universe in which Lynch, instead of adapting Barry Gifford’s novel Wild at Heart for his twisted desert noir masterpiece, had chosen Ballard’s Vermilion Sands instead. Troy doesn’t so much wallow in decay and entropy as he reanimates the ruins, surging new power through the bones of post-industrialism.
“Troy Paiva doesn’t so much wallow in decay and entropy as he reanimates the ruins, surging new power through the bones of post-industrialism.
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LUIS: Troy, when we first talked about your photos, you said, ‘People constantly refer to my photography as “Ballardian”.’ Is it actually an influence on your work? TROY: No. I came to him much later. I enjoyed the Vermilion Sands stories very much when I read them a couple of years ago and I can see why people connect my work with his writing. There is that sense of desolation and isolation, the fetishism of decay and destruction and a general sense of being outside the realm of normal society, as well as the melancholia of straggling on after everything has ended.The movie Vanishing Point encapsulates my own road-trip mythology perfectly. LUIS: What exactly is it about the desert that appeals? TROY: I just love the expansiveness and isolation – it’s primal and uncompromising. I love that you can go for days without talking to anyone. It’s a land of outcasts and oddballs, where non-conformists can thrive. An incredible volume of American mythology is based on the desert and Western expansion,
from the Gold Rush to Route 66. I’ve even heard my photography described as an epitaph for the mythology of the American West. Still, the place has possibilities, all sorts of dormant things might be lying here, waiting to be roused. LUIS: Do you think your pho tos suggest a cryptic ’signs of passing’ of American Culture from the world stage? TROY: I suppose it can’t help but be interpreted that way but I must also say the rest of the world has more ruins and debris left behind than America does. The internet is overflowing with amazing photography shot in the abandoned places of the 21st century. Spend an hour Googling ‘urban exploration’ and you’ll see that the culture is exploding worldwide, so whilst you got the concept right, it’s important to see it as a human, post-industrial thing rather than purely American. UrbEx is as old as mankind. Humans have always been obsessed with both building and exploration. I’m sure primitive man explored the abandoned caves of his ancestors too. We’re drawn to ruins. It’s just how we’re wired as a species. Whereas the 20th century saw an unprecedented worldwide explosion of construction, by the dawn of the 21st century much of this expansion had failed or become obsolete, leaving the world littered with an amazing array of every type of ruins imagina-
ble. Today we are experiencing a true golden age of abandonment. LUIS: You describe it as a ‘culture’. That suggests it’s more than simply the illicit thrill of sneaking into abandoned or forbidden territory. TROY: Yes. UrbEx, or Urban Exploration, is the pastime of visiting TOADS (temporary, obsolete, abandoned and derelict spaces), but not for scientific, anthropological or nefarious purposes. It’s about absorbing the atmosphere and wabi sabi soul of these places. A ‘finding beauty in decay’ aesthetic. I visit these
lapsed spaces for several of the same reasons that normal people visit a serene mountain glen: the soul-cleansing quietude and the sense of feeling very small in a big universe. But ultimately it is an entirely different sensibility. Where most people see waste and blight in TOADS, Urban Explorers see elegant devolution and the weight of time. In some way its landscape seems to be involved with certain unconscious notions of time, and in particular with those that may be a repressed premonition of our own deaths. The attractions and dangers of such an architecture, as the past has shown, need no stressing It is a different reality. UrbEx night photography is very far removed from normal life, and my goal is to accentuate this surreal, otherworldly atmosphere in the work. One of the big attractions of night photography is this weird time-space distortion thing. Most of the night shooters I know are philosophical about the process. The exposures are minutes long, giving you time to sit in the dark and absorb the scene. Regardless of whether you are shooting cranes in an abandoned shipyard, or you’re on the top of a windswept mountain shooting thousand year old trees, it’s a wonderfully zen, contemplative experience. LUIS: You must get scared sometimes. TROY: I don’t really worry about stuff very much. I have yet to see a ghost or the undead, although I’ve had thousands of weird experiences. I’ve shot in many supposedly haunted locations and seen and heard things that some people would pass off as paranormal, but nothing that couldn’t be attributed to wind, settling or vermin in the walls. What I have seen a lot of are big poisonous spiders, three-storey drop offs into the yawning darkness with no railings, copper thieves, rattlesnakes, rotten floors and wasted teenage vandals. I’ve come out of buildings crawling with spiders (I’ve had some very bad spider bites over the years), missed a rattlesnake bite by inches and been chased back to the car by a pack of
wild dogs. I’ve been run off by crazy, desert-rat property owners racking shotguns. I’ve been swarmed by a heavily armed platoon of border agents in southern Arizona while I was shooting in a pet cemetery. I’ve had countless cuts and bruises and sprained and twisted ankles, and I once gave myself an excruciating second-degree burn while light painting with fireworks in a sandstorm. Doing this is a whole lot of fun, but there are a lot of very real ways to get hurt or killed. The dangerous aspect of UrbEx night photography is just not something I dwell on. If I did I’d never leave the house. LUIS: How did you get interested in night photography? TROY: In 1989 I was working as a designer/illustrator for a major toy company, drawing and painting every day in a heavily art-directed environment. After several years of that I lost any sense of the artistic fulfilment I was originally getting from the job. The last thing I wanted to do was draw and paint at home too, so I was desperate to find a new personal creative outlet. At the time my brother Tom was a full time photography student at the Academy of Art in San Francisco. One of his classes was in night photography. Being my brother, he knew I’d be fascinated by night shooting on a conceptual level, so he snuck me along to some lectures and shoots with the class in the decaying industrial sections of SF. It instantly dawned on me that this was the perfect way to photograph the abandoned roadside towns I was already exploring. After one trip to the desert to shoot at night I became totally obsessed and consumed by it. LU IS: Do you see any similarities with your brother Tom’s work? TROY: When we were both learning the ropes in night shooting we frequently shot at night together. Now Tom lives in Los Angeles and he has a commercial photography business shooting large format architectural and industrial work. Living 500 miles apart, we seldom get the chance to shoot together anymore. Tom’s aesthetic is the complete opposite of mine; he doesn’t light paint, he doesn’t do the UrbEx-style locations, and his complex and meticulous – and ultimately gorgeous – largeformat work is the exact opposite of my quick and dirty, guerrilla-style shooting. My compositional style tends towards a
pop-surrealist, melodramatic and cartoony look, whereas his is a more stately and formalist style. His work is cool and elegant, mine hot and visceral. Yes, we’re both night photographers, but our styles couldn’t be more different. We’re very careful to avoid doing similar work specifically because we are both named ‘T. Paiva’ and we both make a conscious effort to avoid stepping on each other’s artistic toes. One way we’re similar though is that we’re both loners, but I think that is a
LEFT:‘The cover of Paiva’s Night Vision: The Art of Urban Exploration, published by Chronicle Books. DOWN::‘Mid ’70s Chevy Monte Carlo at the Pearsonville, California Junkyard. This is the last of the Pearsonville work, I wanna try to head back soon tho. Night, 2 minute exposure, full moon, blue and green-gelled flashlight.’
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trait that runs strong in most night shooters. I have to keep it simple because this is frequently a guerrilla-style of photography. Travelling light is critical, so all my gear except the tripod fits in a small daypack, allowing me to get in, set up, shoot and get out quickly. It’s everywhere now. I seem to have created a Frankenstein. LUIS: Do you work fast? TROY: I work incredibly fast compared to other night shooters. A lot of that is a product of having almost 20 years of experience, but I am a seat-of-the-pants type of artist in any media. The less thinking and planning and fussing over the piece, the more relaxed and natural it will be. LUIS: What kind of equipment do you use?
UP:‘1959 Buick at a nameless high desert junkyard near Lake Los Angeles, CA. Night, 2 minute exposure, full moon purple and green-gelled strobeflash. Big and rusty.’ RIGHT: Hot Seat 2 by Troy Paiva. ‘Shot at the abandoned Fort Ord Army Base in Monterey, CA. I recently learned that most (soon to be all) of the barracks and entire laundry have recently been bulldozed. Hundreds of buildings. Gone. Night, full moon, pink and greengelled strobe-flash, 3-4 minute exposure.’
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TROY: I shot on film from 1989 to 2004 using cheap, outdated flea-market 35mm gear. It felt right for me to be shooting this forgotten junk with junk. This old work has a Holga-esque, toy-camera lo-fi quality that many find endearing today. I guess I was unintentionally ahead of the curve there too. I stopped shooting for a year in 2004 as the film era fizzled out, frustrated by lab closures, the lack of quality film processing and the low yield of acceptable work with my ancient equipment. In 2005 I moved to digital once I saw that camera technology had advanced enough to allow me to do noise-free time exposures. I now shoot with a Canon 20D and a 12-24mm Tokina zoom lens. I use a heavy, solid Slik tripod because I do a lot of work in wind and rough conditions and I need as stable a platform for the camera as possible. LUIS: Fun nily enough, given that your signature style is this unnaturally vivid primary-colour palette, I always picture purples and reds when I think of Vermilion Sands, more so Ballard’s Hello America. Perhaps, like Ballard, you are breathing new life in to these ruins , recombin ing them in new a nd unexpec ted ways. TROY: Yes, you nailed it. Most UrbEx photography is a pure documentation of locations weathered to dreary and monochromatic greys and browns, but I’m taking it someplace else entirely by reanimating these places with light. Some say I’m bringing a festive, circus-like atmosphere to these dead places. It’s done in a sort of Mexican ‘Day of the Dead’ spirit. My colour choices are usually predicated on the actual colour of the subject and location, not because of some premeditated ‘I must use green tonight’ mentality. I see it as embracing the idea of death rather than fearing it. It’s about accepting it and having fun with this darker side of the human condition. My work tends to inspire melancholia, especially in older people, because they remember these places
from their youth. It reminds them of their own mortality, but I think that palpable sense of transience and loss in these places is actually exciting and inspiring rather than sad or futile. I suspect that feeling runs strong in many urban explorers. Personally, I’m not that opposed to pollution II think the transformation of the old landscape by concrete fields and all that isn’t necessarily bad by definition. LUIS: What sort of research do you do, in terms of finding out sites to visit and photograph? TROY: I drive around in the desert and scout locations. I have a collection of old road maps from the 50s, which I’ve studied at length. It’s fascinating to see whole towns on those maps that no longer exist. In the last few years I’ve had a lot of email from people telling me about great locations and I’ve been acting on some of these tips with great results. I’ve also been shooting with a lot of local UrbEx photographers who have introduced me to some spectacular spots very close to home. He welcomed this journey into a familiar land, zones of twilight. At dawn, after driving all night, they reached the suburbs of Hell. The pale flares from the petrochemical plants illuminated the wet cobbles. No one would meet them there. His two companions, the bomber pilot at the wheel in the faded flying suit and the beautiful young woman with radiation burns, never spoke to him… Who were they, these strange twins couriers from his own unconscious? For hours they drove through the endless suburbs of the city. The billboards multiplied around them… LUIS: And your favourite shoot so far? TROY: The aircraft boneyards are still my favourites. I’m an airline brat so I grew up around planes. There is nothing that can prepare you for walking up to half of a 747 laying on its belly in the sand. It’s just epic. I shot the derelict ocean liner ‘S.S. Independence’ earlier this year, days before it left to be towed to the breaker beaches of Asia. That was an amazing, once-ina-lifetime shoot. LUIS: Do you have a desire to shoot outside of America?
TROY: Oh sure: the abandoned industrial cities of Eastern Russia, Gunkanjima – that completely abandoned island city in Japan – the half-finished hotels of the Sinai, the abandoned Formula 1 racetrack at Reims, France… the list goes on and on. Realistically, though, there is more than enough in the American Southwest to shoot for a lifetime. It’s mainly a money issue. Being a freelance artist in the 21st century is a low-budget lifestyle. Still, with a few deep-pocket patrons I’d be happily winging my way across the globe next week!
Trash cans transform into bleeping droids that beam themselves into phone booths. Tightly coiled bursts of effervescent pink light manifest over running water. Street signs come to life, waving their glowing, newly sprung arms. Silent, incandescent creatures emerge on empty streets. Welcome to the artistic world of Lichtfaktor, where colorful "light graffiti" creations come alive on v ideotape without leaving a streak of paint or any other sign of life behind. As artists, They are always looking for new ways to produce material. With this technique, we just keep experimenting and it works," said Marcel Pan ne, a Lichtfaktor light writer. The German group s signature brand of light graffiti, or "light writing," has transformed simple street science into a lucrative new genre of illu minative art, with major companies paying Lichtfaktor to create innovative advertisements. The ephemeral art has propelled the collective into the offices of Absolut Vodka, Mark Ecko, Audi and PlayStation. And Lichtfaktor recently landed gigs creating new material for P hilips, Current TV and Sprint.
"If we are shooting outside, we shoot at night, from sunset to sunrise," said Marcel. The Cologne-based group got its start in late 2006 when Marcel Panne, David L端pschen and Tim Fehske first worked together, after Panne -- a video mixer with a background in photography -- was approached to produce new material for an event themed, "Energy in Motion." Eager to experiment
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with light, he teamed up with graffiti artist L端pschen and Fehske, a fellow VJ (who has since left the group), to craft a series of images showing amber-tinged tag lines trailing through a subway station, stippled red beams zigzagging across deserted highways and fleeting blue robots darting
through dusky cityscapes. Not long after that, they were commissioned to produce a light-scribed, energetic short for British movie service Sky Movies. The stop-motion film, Star Wars v Star Trek, has drawn more than 800,000 views on YouTube since its completion in July. Despite the apparent complexity of the images, the techniques involved don't require any mind-numbing formulas, measurements or calculations. "It's all by trial and error," laughed Panne. "We scout the location with a storyboard in mind, and do some test shots. From there, we just work frame by frame." Ambient, rhythmic music stylings get added during editing by longtime collaborator and DJ, The Green Man. Gearheads eager to take a crack at Lichtfaktor's style will be delighted to know that most of the crew's stash can be found by perusing supermarkets, hardware stores and fireworks stands. Light sources include glow sticks, torches and colored sparklers for varying luminous effects. However, three reliable types of light consis-
tently deliver trademark Lichtfaktor effects – xenon flashlights produce a warm golden blaze, while LEDs provide sharp rays of color. "Cold cathodes, neon tubes, make a traditional fat-cat graffiti style of thick lines," said Panne. The method gets even more DIY with filtering effects, which Panne reveals are often created using nothing more than brightly hued gels crumpled in a glass taped to the end of a flashlight. With a camera set for a long exposure, graffiti artist Lßpschen dons his traditional work get-up, a black hoodie and pants, to keep from appearing in the group's artwork. Zooming through
"It looks strange, and they are afraid of terrorists," said Panne. each frame, he quickly sketches out the graphics before retreating to the sidelines, which also helps keep his body's outline from disturbing the lit scrawls. Videos are then composed using stop-motion animation techniques.
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In the first of a series of posts dedicated to artists working with light, published in association with Aurea by Philips, Gavin Lucas speaks to the “lightwriting” collective, Lichtfaktor, about their work Lichtfaktor is a collective of like-minded VJs and graffiti artists based in Cologne, Germany – comprises the talents of $ehvermögen, JIAR and 10X (real names Marcel Panne, David Lüpschen and Tim Fehske). The trio collaborated and developed the artform they refer to as “lightwriting” when Panne, a photographer and resident VJ of Drum & Bass label Basswerk, was commissioned to create a video projection for the Deutscher Ärzte Verlag that visualised the theme Energy In Motion.CR: Tell us a bit more about yourselves and your backgrounds. David Lüpschen (JIAR) is a phtographer and VJ, is a communication designer, illustrator and graffiti-artist and Tim Fehske (10X) is a VJ and musician studying theatre, film and television science at Cologne University. We sometimes work with (Mrs. Ducktank) and we always work with the same musician, The Green Man, real name Heiner Kruse, who has been DJing since 1984 and is the founder of label Basswerks - a Drum & Bass label for which I am the resident VJ. Like artists or film-makers they look their work to date has been heavily influenced by streetart/graffiti but you also find elements of early abstract films (by the likes of Oskar Fischinger) and VJing. There is always a dialogue between the world of graffiti and that of music visuals and it is interesting for both sides because graffiti artists mostly don’t think in animations, time and movement – and for VJs it is interesting to produce footage in a graffiti manner and it is also the style and way of life that graffiti stands for.
They like the contrast in effect between different light sources. For example, Xenon gives a nice golden look, while with LEDs you can create thin, precise lines, and cold cathode light sources allow you to create a fat-nibbed marker pen style. They put glasses and other different things on our various light sources to get different shapes and colours or we use multi LED lights and colour filters… They like green, pink, magenta. And we like it when the environment in which we’re creating our work is integrated well into the picture. Like the trashcans in our Starwars vs. Startrek film. The most important thing is when we start something, we know what we want to draw before we go out, but we are always inspired by the places and situations we shoot in. And because it’s a live process it’s always somehow improvised because you can’t plan everything before you actually take the pictures.
“we like green, pink, magenta. And we like it when the environment in which we’re creating our work is integrated well into the picture. Like the trashcans in our Starwars vs”
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The result of their good practice is that we are quite precise now. We know our skills (lightwriting), what the different types of lights will look like and we’ve got the camera skills to get the results we’re after. What is beatiful thing for us and for them, it is an evolution and a chance to animate graffiti characters in urban landscapes. But in general we would say that graffiti is graffiti and lightgraffiti is lightgraffiti.
They dont refer their group like the original on to use this photographic technique of light painting; Picasso, for example, had already made some pictures this way! But we think we are the first group that does animations with incamera light paintings and has this graffiti background. Actually, there are many lightwriters with different skills and backgrounds and for more information do check our webpage or myspace. So they think that their most important influences are by Picasso, Marko-93 and PIKAPIKA, graffiti, street art and visual music. Some of our all-time heroes include Wolf Vostell, Chargesheimer, Stanley Kubrick, David Lynch, George Lucas, Oskar Fischinger, Laurie Anderson. With “lightwriting” we are able to get the best from photography, painting/graffiti and stop-motion film-making techniques and by combining all these elements together in our work we can go new ways and realise ideas in a fresh way.
The tips that Lightfacktor offer to the beginners in this new activity is to get the best results you need a tripod. The exposure should be around 10-30 seconds or longer if needed. Stay in front of the camera and do your writing. Do not overexpose! Set the camera to about iso100, and close your aperture as much as possible. If there is still too much light you might have to use an nd-filter. It is always nice to integrate the surrounding into your picture. They have a collection of flashlights, biking-lights and flashing LED lights which all work with batteries so that we are mobile - and you also get nice results with fireworks and torches . There are 3 different type of lights we use: 1. Xenon: makes a warm golden light. 2. LED: makes a thin precise line. 3. Cold cathode: thick line.
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A number of graffiti artists have been tagging everything thought to be impossible without being caught. Well — it’s actually not illegal for them. They’re not using paint. As it turns out, time-lapse photography isn’t just for blooming flowers, skyscapes, or brake lights anymore. Termed Light Graffiti, tag artists are taking their colour to an all new level. Painting with light is a fun technique that gives great results. It is called painting with light because this is what you are actually doing while taking the shot - painting with light. You don t need much to experiment with this kind of shot, just make sure you have the following items:
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1. A camera capable of long exposures - film cameras will work OK, but if you really want to get the most out of the shooting session, use a digital camera. You will be able to see the results in "real time" and make corrections as you go.
2. A nice tripod - Since you will be doing some long exposures you want to make sure your camera sits still. If you don't have a tripod you can make one in a few minutes (see this article or this one). .
3. A flash light - and by flash light I do not mean flash as in a speedlight, but the flash light or what our British will call a torch.
4. A dark location. This one is tricky. If you are going to shot at home - a dark room will be OK. If you are going to shoot outside - make sure that you are not doing this under a street light, or where a car can come by and "paint its headlight" all over your shot. Here is how it s done: Set your camera on the tripod and take a sample shot with flash / lights on. This will help you verify that your composition is OK. Set the exposure to a relatively long value. Stop down the aperture as much as you need. If you are outside do nothing. If you are inside - this is the time to turn off the lights.
5. Make the click. Once the shutter is open use your flashlight to light the stuff that you want to "paint". You can use the flashlight as a brash, and "smear" the light, just like you would have done with brush and paper. Or, you can use the light as a pen, and do precise work. Areas where you go slowly will be more lit then others. Be careful not to linger to much over the same stop - you will burn it. (The machos amongst you will correctly identify this as the "I forgot the iron on the shirt" phenomena).
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technology
TRIOPS CAMERA
This design concept from Franziska Faoro is called the Triops and consists of 3 fish-eye digital camera lenses facing in 3 separate directions allowing it to take 360 degree panoramic shots. What’s really cool about the device is that it can take them on its own at unexpected moments. The Triops will take pictures in reaction to movements or sound and can be thrown and take the photos in mid-air. It can also be set to take shots manually and then send them wirelessly to a separate viewing/storage/docking station. This design is still a concept at this point but is definitely something we think would be fun to own.
www.yankodesign.com
Software
RESOLUME 2.3
Resolume is an instrument for live video performances. Completely build to quickly improvise your videos to the music. Play up to three layers of video, with up to six effects. Play video forward, backward, adjust the speed or scratch it by hand. You can freely improvise without ever stopping the video. Resolume is the preferred software of choice for many professional VJ's and video artist in 40 countries worldwide.
www.resolume.com/features/ Design Materiais
PHILHIPS SKIN PROBE
Philips Design’s revolutionary SKIN probe project has been selected by the red dot panel of judges for a ‘best of the best’: design concept 2007 award. This is one of the highest distinctions received by a concept in the red dot design awards and indicates that the SKIN probe is the best of its category (design concept) and pioneering in its field. Philips Design’s SKIN probe project comprises the development of a series of garments that demonstrate how electronics can be incorporated into fabrics and clothing in order to express the emotions and personality of the wearer. It forms part of the company’s ongoing SKIN exploration research into more ‘analog’ phenomena such as ‘emotional sensing’, and explores technologies that are ‘sensitive rather than ‘intelligent’.
www.design.philips.com
Tutorial Photoshop
GRAPHITII LIGHT-EFECTS
A few weeks ago a friend of mine had published an article on my blog about Light painting. For those who stay impressed by all the effects these guys can create taking photos with long exposures, maybe it would be a nice idea to do that in Photoshop. So in this tutorial I will show you an easy, and very fast way, to create a light painting in Photoshop.
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psdtuts.com/tutorials-effects/painting-effect/
Photography
ERWIN OLAF Has a passionate love affair with life, and fully enjoys everything that it has to offer. An ever-rising photographer, his work constantly garners new attention, and maintains the respect of his loyal fans. His ‘oeuvre’ is a manifestation of his incredible passion and genuine engagement with subjects. Olaf has been professionally active for over twentyfive years, and in this period he has succeeded in evolving from a participating photographer to a director who creates his own reality. Olaf’s pictures are filled with humor, imagination and exuberance, but they go much further than simple visual intrigue. His work broach ideas and visions of freedom, beauty, loneliness, and being different.. Olaf consistently expresses his own standpoints, fulminating against narrow-mindedness, smugness, and rigid norms.
www.erwinolaf.com ilustração
FACTORY 311
We don’t know about the illustrator but Factory 311 s design portfolio is a luscious mix of talent, fusing urban art forms with printed and digital media. Through a succession of international advertising campaigns, our designers have not only proven that they have what it takes to succeed at the highest level, they have also set new boundaries for the rest to follow. Their design team are dedicated to the creation of rich, colourful and immersive graphic design.
www.factory311.com/design/ video performance
SCOT FITZGERALD
I worked with Miren Arenzana on these pieces, initially shown at the Montrmosso Museum in Vitoria, Spain. They are 30 objects made of silicone with electronics inside. The sides of the modules are concave, to act as suction cups. When moved, the lights inside the modules change. There are several different behaviors to choose from. The pieces are designed to travel throughout the museum, allowing people to place them wherever they wish, with their chosen color pattern.
www.ennuigo.com/ iIlumination
MARIE LOUISE
By the designer Buro Vormkrijgers, this light design product was made with PMMA sheets illuminated by a special fluorescent bulb, Marie Louise is definitely a new take on the traditional table lamp. As with the chandelier "Therese", and the floor lamp "Josephine", Marie Louise emits a soft magic glow. A definite eye-catcher in any environment. This model is also available in an engraved version ("shade" only), but there are eight colors filters available.
www.gnr8.biz/
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