robertogreco + cameras   189

XXIIVV — inventory
“The collection of technical details on the Inventory.”
devinelulinvega  tools  howwework  everydaycarries  hardware  keyboards  cameras  bikes  100r  hundredrabbits 
13 days ago by robertogreco
Familiar Stranger - The Exhibition | Grants - PHmuseum
"On the occasion of Art City Bologna 2020, PHmuseum and Spazio Labo’ present the group show Familiar Stranger – Collective imagery at the time of mobile photography, following the conclusion of the first “PHmuseum Mobile Photography Prize” – a photo contest through which 11,000 mobile device’s photographs from around the world have been collected. The exhibition proposes to reflect on the typical behavioural models of the virtual environment, triggering a dialogue between the authors exhibited and those elements and themes that distinguish contemporary online fiction. As defined by the American psychologist Stanley Milgram in 1972, Familiar Stranger is a concept that refers to those individuals who do not know each other but share some common attributes such as interests, employment, social position and so on. For instance, Milgram mentioned those people who take the same train every day and are able to recognize faces of individuals already seen but with whom they have never interacted and whom they probably know nothing about. Moving this concept into a virtual environment, it is interesting and stimulating to explore the existence of potential familiar strangers in the vastness of the online world. Social networks actually represent a complex set of human relationships in which interactions are given through posts, tags, shares and likes. As a special event within the exhibition, on Saturday January 25th we’ll host the presentation of Familiar Stranger, the first photobook published by PHmuseum, and a round-table on the topic of post-photography and mobile photography with Erik Kessels, and Chiara Bardelli Nonino, photo editor of Vogue Italia, in conversation with Laura De Marco (director and curator of Spazio Labo’), Giuseppe Oliverio (director of PHmuseum) and Rocco Venezia (curator of PHmuseum).

The show will feature 24 main images, plus an installation with other 900 images, and interactive screens where visitors will be able to browse all 11,000 images submitted to the PHmuseum 2019 Mobile Photography Prize."


"FAMILIAR STRANGER as defined by Stanley Milgram (Milgram 1972) are those individuals who do not know each other but share some common attributes like interests, occupation, location etc. For instance, people taking the same train daily find familiar faces but do not know each other. Moving this concept to a virtual environment, it is equally interesting and challenging to explore the existence of familiar strangers in the current online world. Social networks represent indeed a complex set of human relations where interactions are expressed through posts, tags, shares, and likes. With this book we aim to reflect on them and the common attributes, behavioural patterns, and interests suggested by the 11,000 photos sent to the PHmuseum 2019 Mobile Photography Prize."]
phmuseum  photography  smartphones  cameras 
12 weeks ago by robertogreco
Glance Back
“You spend so much time staring at your computer…
Doesn’t your computer deserve a chance to glance back at you?

get the chrome extension [button]

Glance Back is a daily photo diary, capturing the moments shared between you and your computer. Once a day, when you open a new tab, Glance Back will unexpectedly take your photo, ask you what you’re thinking about, and save both the photo and written thought to its locally stored archive.


You know that feeling when someone is staring at you for a really long time? It’s super uncomfortable right? Especially if this gaze is unreciprocated. Glance Back grew out of a desire to recognize that this phenomenon occurs between ourselves and our machines when we spend so much time looking at our screen.

With this chrome extension, once a day at random when you open a new tab, Glance Back will quickly snap a photo of you and inquire: “What are you thinking about?”. Once you type your answer and press enter, the photo and thought will be collectively saved to your history of glances, cumulatively creating an archive of moments you share with your screen. Given that most of the digital photos we generate of ourselves today are highly curated (i.e. wait let me fix my hair and smile and please take at least 10 photos just to make sure there’s a good one!), Glance Back also acts as an antidote to this attitude by providing you with unexpected and often… unflattering… photos of yourself.

It’s important to note that all of the photos are saved to your browser’s local storage. This means that they never leave your machine. This is a collection shared purely between you and your computer. If you want the photos for yourself, you can choose to download them under the settings tab in the top right. You can also delete photos from the archive and choose whether the extension requires you to write a caption or not.

When using our devices, we’re pulled into and solely focused on the glowing world that exists on the screen. We lose both an awareness of self and of the real world context surrounding us. This extension aims to disrupt that trance and remind you that you are here and your computer is there and you are just staring at it and… wow is that really what I look like right now?

Glance Back is a project by Maya Man.”

[via: ]
mayaman  fun  cameras  photography  chrome  extensions  webcams 
october 2019 by robertogreco
Arthur Jafa: Not All Good, Not All Bad on Vimeo
"We went to Los Angeles and visited the winner of the prestigious Venice Biennale's 2019 Golden Lion, American artist and filmmaker Arthur Jafa. In this extensive interview, he talks about black identity in connection with his critically acclaimed video ‘Love is the Message, The Message is Death’, which became a worldwide sensation.

“I’m trying to have enough distance from the thing, that I can actually see it clearly. But at the same time, be able to flip the switch and be inside of it.” Jafa describes how he has rewired himself to push towards things that disturb him. He grew up in the Mississippi Delta, one of the poorest regions in America, and admires the fearless and relentless pictures from that region by Danish photographer Jacob Holdt in ‘American Pictures’ (1977): “They exist outside of the formal parameters of art photography. I think they exist outside of journalism. They’re something else.”

Since childhood, Jafa has collected images in books, as if he was window-shopping, “compiling things that you don’t have access to.” The act of compiling and putting things together helps him figure out “what it is you’re actually attracted to.” When he “strung together” ‘Love is the Message, The Message is Death’, it was engendered by the explosion of citizen cellphone-documentation – the point in time where people discovered the power of being able to document. Jafa comments that his “preoccupation with blackness is fundamental philosophical” rather than political, and considers ‘whiteness’ a “pathological construction that’s come about as a result of a lot of complicated things.” In continuation of this, Jafa is against “highs and lows,” and some of the power of the work, he finds, is that it doesn’t make those distinctions. Instead of doing hierarchies, it accepts that opposites don’t have to negate each other, and tries to understand the diversity, differentiation and complexity in the world: “It’s not all good, it’s not all bad.”

Arthur Jafa (b. 1960) is an American Mississippi-born visual artist, film director, and cinematographer. His acclaimed video ‘Love Is the Message, The Message Is Death’ (2016), shows a montage of historical and contemporary film footage to trace Black American experiences throughout history. Jafa has exhibited widely including at the Hirshhorn in Los Angeles, Institute of Contemporary Art in Boston, Tate Liverpool in Liverpool and Serpentine Galleries in London. His work as a cinematographer with directors such as Spike Lee and Stanley Kubrick has been notable, and his work on ‘Daughters of the Dust’ (1991) won the ‘Best Cinematography’ Award at Sundance. In 2019, Jafa was awarded the Golden Lion for best artist at the Venice Biennale for his film ‘The White Album’. Jafa has also worked as a director of photography on several music videos, including for Solange Knowles and Jay-Z. Jafa co-founded TNEG with Malik Sayeed, a “motion picture studio whose goal is to create a black cinema as culturally, socially and economically central to the 21st century as was black music to the 20th century.” He lives and works in Los Angeles.

Arthur Jafa was interviewed by Marc-Christoph Wagner at his studio in Los Angeles in November 2018. In the video, extracts are shown from ‘Love Is the Message, The Message Is Death’ (2016) by Arthur Jafa. The seven-minute video is set to Kanye West’s Ultralight Beam.

Camera: Rasmus Quistgaard
Produced by: Marc-Christoph Wagner
Edited by: Roxanne Bagheshirin Lærkesen
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2019

Supported by Nordea fonden"
arthurjafa  art  film  filmmaking  identity  blackness  whiteness  photography  imagery  collection  images  books  compilation  compiling  access  collecting  collections  documentation  documentary  complexity  video  montage  marc-christophwagner  childhood  mississippi  bernieeames  distance  survival  experience  culture  mississippidelta  seeing  perspective  democracy  smarthphones  mobile  phones  cameras  jacobholdt  clarksdale  tupelo  patriarchy  race  racism  billcosby  duality  hitler  thisandthat  ambiguity  barackobama  keepingitreal  donaldtrump  diversity  hope  hierarchy  melancholy  differentiation  audience  audiencesofone  variety  canon 
july 2019 by robertogreco
RICOH GR III - The new KING of Street? - YouTube
[See also from same channel:

"Ricoh GR III vs Fujifilm X100F - Let’s compare!"

"Ricoh GR III - Answering your questions! (LIVE🔥📷)"

"Q&A with RICOH Product Manager Wolfgang Baus - RICOH GR III"

"RICOH GRIII - MY SETTINGS & Beginner’s Guide!"

"INSANE BEGINNER TALENT - Introducing Street Photographer Bello (Ricoh GR)"

"Documenting History (Article 13 Protest Berlin) - Ricoh GR III" ]

[Some more GR refs:

"GR Concept Movie" ]

[See also from other channels:

"Ricoh GR iii Review - A Street Photographer’s Dream?" (Hyun Ralph Jeong)

"Ricoh GR III - The Best Camera You Should Have With You" (Kai W)

"Ricoh GR III Review - The Good, the Bad and the Awesome!" (Mattias Burling)

"5 Reasons to Buy a Ricoh GR III - The Street King is Back!" (Mattias Burling)

"What if I had to pick only ONE camera?" (Mattias Burling)

"Ricoh GRii Review vs The Fuji X70" (Mattias Burling)

"5 Reasons to Buy a Ricoh GRii" (Mattias Burling)

"Fujifilm X100F vs Ricoh GR II Review: Which To Buy For Street Photography?" (Eric Rossi)

"Ricoh GR III Review: King of Street Photography Cameras?" (Eric Rossi)

"Ricoh GW-4 Wide Angle Lens Review for Ricoh GR III (GA-1 Review)" (Eric Rossi)

"Ricoh GR II Review – Best Compact Travel Camera?" (Micael Widell)

"DPReview TV: Ricoh GR III Review" (DPReview)

"Why I Like the Fujifilm XF10 (a Little More) than the Ricoh GR II" (Eric Kim Photography)

"Fujifilm XF10 Unboxing + First Impressions Review (vs RICOH GR II)" (Eric Kim Photography)

"Ricoh GR ii … what I wish I’d known on day 1" (Johannes Labusch)

"Ricoh GR III, de paseo por Londres con la nueva reina de la foto de calle" (Photolari)

"RICOH GR III" (Rene Flindt) ]

[via Mark Llobrera:

"Exploring the Streets of Tokyo" (with a GR II)

"Ricoh GR III" (review) ]

[Update on 28 July 2019 with a few more:

"The RICOH GR III (3) is the Best Camera Ever Made." (Eric Kim)

"Buy a new Ricoh GR III, not a New iPhone"

"Amazing Presets of the Ricoh GRIII | In-Camera Filters" (Niels Kemp) ]
ricohgr  cameras  photography  2019  streetphotography  fujifilmfx10  fujifilmfx70  fujifilmfx100f  ricohgriii  ricohgrii 
may 2019 by robertogreco
The Windshield and the Screen | u n t h i n k i n g . p h o t o g r a p h y
"A Google Street View car in Los Angeles once captured a picture of Leonard Cohen. It happened a couple of years before he died. He was sitting with an acquaintance on lawn chairs outside his modest home in the Mid-Wilshire neighbourhood. The driver was an accidental paparazzi. Cohen didn’t even notice him.

The picture of Leonard Cohen on Google Street View is part of the database lore circulated on internet forums. Hobbyists and virtual world trawlers trade Street View links—oddities and pranks and wonders, like a man on the street in a horse mask, someone escaping a house with a makeshift rope of bed sheets tied together, and the 'Hallelujah' songwriter in his front yard enjoying a lovely day. A project as ambitious and omnivorous as Street View could only have these wonders, although not on purpose or by design. Street View isn’t photography as aesthetic representation, but the production of leftovers that happen to be images. These images are the husk — the dead skin of a surveillance charade. This archive can be fascinating and even useful to spectators—the users of it. But this data created and cleaned at scale is a source of Google’s power."

"Users have been tapped as distributed teachers to driverless cars. Granted, this is no guarantee of success: the Waymo project keeps missing its deadlines, and even the most ambitious timelines seem to fall beyond the near future. And just as the Street View online archive exists almost as a refuse of data mining, the security function of reCAPTCHA has just about outgrown its usefulness. Bots and spammers crack it all the time. Humans —those “not a robot” — and human labor serves another purpose: a link in the chain, rather than an end in itself."

[See also:
"Jean-Luc Godard sur Street View? Les internautes en sont persuadés"

via (and also by Joanne McNeil) ]
joannemcneil  photography  screens  googlestreetview  maps  mapping  2019  leonardcohen  recaptcha  jean-lucgodard  anne-mariemiéville  cameras 
march 2019 by robertogreco
to be
"Free expressive tools for online creation.
Formed by the thousands of artists who’ve made and own a growing collection of extraordinary work.

The Camera app uncovers a fantastic digital world beneath the surface of reality. Choose from hundreds of animated backgrounds. Tap a few colors on the screen, and record a video – or enjoy a passing daydream on your screen.

Fields are your space to collage the internet. Much deeply personal and wonderfully diverse work has been done in these fields, from the serene to the unhinged.

Use the best set of tools online to easily make t-shirts and other printed products. We work with amazing partners that deliver the finest quality products. All made in the USA. "

[via: ]
art  collage  design  web  webdev  applications  onlinetoolkit  internet  online  cameras 
february 2019 by robertogreco
New American Outline 1
"These days, the mirrors we most often use to check our makeup or see if there’s gunk in our teeth are found on our phones — “smart” devices that coordinate an array of sensors and cutting-edge “image display” and “image capture” technologies to render reality within the boundaries of a powered physical display.

What’s interesting about smart-devices-as-mirrors is that the eventual representation of the “image of the world” is explicitly and wholly a “model” of the world — a “model” meaning a “ human-constructed representation (abstraction) of something that exists in reality”. Physical mirrors are interesting because they have the ability to render reality and even warp it, but what they depict is “a physical reality” in the truest sense; The physical qualities of a mirror can be seen as akin to seeing the world through air, or seeing the world through water. While a human being can physically manipulate a physical mirror to alter the final reflection, the reflection in and of itself is a product of the physical world and unalterable in totality.

To a degree, film photography was an extension of this physical realization (rendering) of reality. At a certain point, what else is the capture of light on paper but a wholly physical process? While people intervened in the path of light’s travel with lenses and apertures and specifically-designed crystal-studded paper, what emerges as a process is less a constructed model of reality and more a continually warped representation of what actually exists in the world. Film and paper photography was a deeply labor-intensive art, full of cutting and cropping and poisoning and brushwork, all serving the act of rendering what was once a beam of light into an image-rendering of a particular summer day. Impressionism lives on in this sense.

It wasn’t until recently that most photographs became literal abstractions or literal models of thought with the advent of digital photographic capture. While the earliest digital photographs presented terrible image quality/resolution, they were possibly the most honest representations of what they actually were: a product of humans manipulating bits through clever mathematic compression to render blocks of color accordingly.

“How can mirrors be real if our eyes aren’t real?”

What we “see” in our screens is wholly a model of reality, wholly an abstraction of the natural world, wholly determined and manufactured by people sitting in an office in California somewhere, typing away at an IDE. When we strip away the image rendered on a screen, when we deconstruct an algorithm, what’s left?

What does it mean when most models (abstractions) of our digital representations are constructed in California, or completely in America for that matter?

When I look at myself on my phone camera, why do I get the haunting feeling I’m not situated in New York anymore? When I scroll through all the photos of friends and strangers on Facebook or Twitter, why does it all feel so flat? When I tap through my friend’s stories on Instagram and get interrupted by an ad for shoes, why does the shoe ad feel more real than the stories it’s sandwiched between?"

"New American Interfaces

When we talk about “New American Interfaces”, it’s important to expand upon the meaning of each word for a complete sense of the conceptual picture we’re trying to paint.

We should imagine “New American Interfaces” to be less a definition, more an expansion. Less an encircling and more an arrangement collage [ ] of existing realities.

“New”ness is a direct reference to developments in human technology that span the last 10 years or so. “New” American technology does not refer to technology that was developed in the 1970s. “New” American Technology is not a reference to networking protocols or personal computers proliferating in the 90s. “Newness” refers to mobile phones finding themselves in billions of people’s hands and pockets. “Newness” refers to the viability of video streaming over wireless networks. “New” implies cameras directly imbued with the capability to re-model reality and assign social value through “the arrangement of certain interfaces” only found in the most cutting-edge devices. “New”ness implies the forgetting of the massive stacks of technology that exist to show us images of our friends and their lives in chronological order.

“America” speaks to the “Americanness” of the current world. Totalizing global governance, military might, far-reaching memetic saturation the rest of the world cannot escape from. “America” means pop culture, “America” means world police. “America” retains the ability to wobble the economy of the world when executives shitpost on Twitter. When we talk about “America”, we mean the hegemonic cultural-economic infrastructure the rest of the world rests upon whether they like it or not.

“Interfaces” speak to not any button, slider, or like button physical or digital or otherwise. “Interfaces” in the sense of “New American” interfaces refer to what Kevin Systrom meant when he called Snapchat a “format”. A replicable stack(s) of technology is an “interface”. An “interface” under this definition means every chat application is fundamentally the same and completely interchangeable. Linear conversation will always be linear conversation, and the pattern of linear conversation is what we call a messaging app, and we call this an “interface”. Every search interface is the same, every index is the same, every captive portal is the same. To take our example to the physical world, imagine this scene:

You see two chairs side by side with one another. From afar, they are completely the same. You inspect them close and they are the same, you notice they both are built from the same beautiful ash wood, every single detail is perfectly mirrored in both chairs.

One of these chairs was wholly made by human hands and the other was cut to shape by a machine, assembled by people on a factory line, and produced in the millions.

One of these chairs is an interface —"

[See also: ]
édouardurcades  mirrors  interfaces  ui  ux  cameras  stories  instagram  storytelling  reality  2019  snapchat  multimedia  media  kevinsystrom  format  form  newness  technology  smartphones  mobile  phones  images  imagery  buttons  jadensmith  lukaswinklerprins 
february 2019 by robertogreco
Clayton Cubitt on Twitter: "Three step guide to photography: 01: be interesting. 02: find interesting people. 03: find interesting places. Nothing about cameras."
"Three step guide to photography: 01: be interesting. 02: find interesting people. 03: find interesting places. Nothing about cameras."
claytoncubitt  photography  edg  srg  glvo  classideas  howto  cameras  2013 
august 2018 by robertogreco
Animals with Cameras | About | Nature | PBS
"Go where no human cameraman can go and witness a new perspective of the animal kingdom in Animals with Cameras, A Nature Miniseries. The new three-part series journeys into animals’ worlds using custom, state-of-the-art cameras worn by the animals themselves. Capturing never-before-seen behavior, these animal cinematographers help expand human understanding of their habitats and solve mysteries that have eluded scientists until now.

Wildlife cameraman Gordon Buchanan and a team of pioneering animal behaviorists join forces to explore stories of animal lives “told” by the animals themselves. The cameras are built custom by camera design expert Chris Watts to fit on the animals unobtrusively and to be easily removed at a later point. From this unique vantage point, experience the secret lives of nine different animal species. Sprint across the savanna with a cheetah, plunge into the ocean with a seal and swing through the trees with a chimpanzee."

"Episode 1 premieres Wednesday, January 31 at 8-9 p.m. on PBS (check local listings)
The astonishing collar-camera footage reveals newborn Kalahari Meerkats below ground for the first time, unveils the hunting skills of Magellanic penguins in Argentina, and follows the treetop progress of an orphaned chimpanzee in Cameroon.

[ ]

Episode 2 premieres Wednesday, February 7 at 8-9 p.m. on PBS (check local listings)
The cameras capture young cheetahs learning to hunt in Namibia, reveal how fur seals of an Australian island evade the great white sharks offshore, and help solve a conflict between South African farmers and chacma baboons.

Episode 3 premieres Wednesday, February 14 at 8-9 p.m. on PBS (check local listings)
Deep-dive with Chilean devil rays in the Azores, track brown bears’ diets in Turkey, and follow dogs protecting flocks of sheep from gray wolves in Southern France."

[See also: ]
animals  cameras  cameraencounters  video  photography  morethanhuman  nature  multispecies  2018  meerkats  wildlife  dogs  sheep  namibia  chile  argntina  cameroon  chimpanzees  kalahari  cheetahs  southafrica  australia  sharks  seals  faming  baboons  bears  turkey  rays  classideas  pov 
february 2018 by robertogreco
Tour the Treetops from a Chimp's Point of View - YouTube
"The three-part miniseries "Animals with Cameras" airs Wednesdays, Jan 31-Feb 14 on PBS. Check local listings.

Kimbang is a four-year-old female chimp who had a difficult start in life. Poachers killed her mother and she's had to learn how to be a chimp from human caregivers. Donning a wearable camera, Kimbang climbs high amongst the treetops and reveals what exactly she's been snacking on. Will this prove she's ready for the wild?"
chimps  chimpanzees  animals  primates  multispecies  morethanhuman  cameras  cameraencounters  photography  video  classideas  2018  nature 
february 2018 by robertogreco
Rylo - The powerful little 360 camera
[via: ]

"Shoot impossibly smooth video with Rylo's breakthrough stabilization technology.

One Shot.
Rylo records in every direction at once.

Every Angle.
Frame your perfect shot when you're done.

Tell Your Story
Craft videos you'll be proud of with simple and intuitive editing tools.

Rain or Shine
The Adventure Case protects
Rylo from scratches, mud, and is
waterproof to 3m / 10ft.
Ships in 2-3 weeks.

Share While You're There
Lightning fast transfers. Share to Instagram, Facebook and more right from your phone."

[See also: ]
cameras  videocameras  video 
december 2017 by robertogreco
Maarten Inghels - The Invisible Route
"This map shows the extensive camera network (private and public) and the last route to stay invisible in the controlled public space. As walked by Maarten Inghels on June 21, 2017 in Antwerp, Belgium."
surveillance  maarteninghels  maps  mapping  cameras  2017  antwerp  belgium  urban  urbanism 
september 2017 by robertogreco
An Xiao Busingye Mina en Instagram: “All of these things, including the (functioning) light bulb and the panda bear 🐼 have cameras for transmitting live streams. What happens…”
"All of these things, including the (functioning) light bulb and the panda bear 🐼 have cameras for transmitting live streams. What happens as this scales up? What are the implications for surveillance and voyeurism? For documentation of police brutality and human rights abuses? Welcome to your privacy nightmare, though if there's anything we've learned from the past few years, cameras can also empower the vulnerable under certain circumstances."
anxiaomina  surveillance  2017  privacy  technology  cameras  policebrutality  voyeurism 
august 2017 by robertogreco
Teju Cole en Instagram: “Right, let's talk tech. Frequently asked question: what camera I use. Short answer: Fujifilm X70, a small and impressively…”
[The note space here on this bookmark will probably not be long enough, so try this instead: ]

"Right, let's talk tech. Frequently asked question: what camera I use. Short answer: Fujifilm X70, a small and impressively versatile digital camera.
Slightly more involved answer: The Fujifilm X70 is my ninth or so camera. This year alone I've used an iPhone 6 (digital), a Canon 5D Mark III (digital), a Mamiya 7 medium format rangefinder (film), and a Canon Elan 7 (film). The camera doesn't matter, obviously. It's the eye and the tensions you're able to explore in any given series of images. But of course the camera matters: if you figure out what a given camera is able to do, you're more likely to get past mere style into something that's interesting in another way. A pretty image is the easiest thing in the world. But what do you want to make flow?
The key thing is to get into an intuitive relationship with whichever camera you're using. Most of "Blind Spot" and all my Lucerne pictures were shot with the Canon Elan 7, a big ugly monkey of a film camera, very cheap (I saddled it with an expensive 50 mm lens). I mostly shot Portra film. It was a very efficient machine, a pain to carry around, and after three years I was happy to go to something lighter and faster. But I loved the language it gave me and I got fluent in it.
Would I recommend the X70? Yes. It'll run you just north of $600. Great color work, gorgeous reds and blues compared to any other digital camera I've used (Canon's digital reds never convinced me), and much better bokeh algorithms too. Only twice as big as an iPhone and easily twice as good. Downsides: no viewfinder, fixed and rather wide lens (28 mm equivalent). People will say you can't do portraits with anything that wide, but all my #faceme_ifaceyou portraits were shot with it. And for sheer verve, even in night shooting, even on a dance floor, it's the most satisfactory little machine I've used. All my #riverofimages pictures are made with the X70. I play with color in Lightroom and sometimes use the inbuilt flash, sometimes with an additional light source (usually from my phone), and it can be surprisingly beautiful.
Comments open for follow-up questions."

[Comments with replies from Teju as of 9: 30am, 7 Aug 2017]

"bokaptit: Which is your favorite photo?
_tejucole: A photograph of the funnel of a ferry on Lake Brienz that I made in 2014. It's on p. 120 of "Blind Spot."

sanchita_c: Is X70 a compact camera or a mirror less camera?
_tejucole: Compact.

ltaylork: where do you take/send your film to develop?
_tejucole: Accurate Photo, South Slope.

adebeeyii: #onceuponatime That's the result of my following you diligently. Won't mind getting your suggestion on things i can do better.
Won't mind getting your suggestion on things i can do better.
_tejucole: Work on it everyday. Be willing to try weird things. You'll be your own best guide.

noonecankeepup: What kind of photography would you call your work ? My guess is contemporary but I feel like it might more
_tejucole: I don't really label it. "I'm trying to see" is the best I can come up with.

tehbingreviews: What kind of camera would you recommend for someone who's mostly been shooting with an iPhone but is interested in exploring photography further? (I've been reading up on film photography but am not sure if I should just stick to digital)
_tejucole: Film, quite apart from its appearance, can change your relationship to the things you're looking at. I'd recommend it. A used Pentax K1000, which you can get for under $100, might help slow down your shooting and enrich your looking.

lancestein: The feel of Fujifilm cameras has always been more satisfying in my experience. Manual dials sold me on the the X-T1. Feel like more people are gravitating toward a middle ground between DSLR and point-and-shoot and Fujifilm occupies that space really well. I started shooting on my parents' old Nikon N90, clunky but the light meter got me perfect exposures every time. I miss the awkward simplicity. Anyway, cheers for the post.
lancestein: By the way, are you exporting jpegs out of camera with Fuji? I find the colors spot on and just keep the raw as ’negatives’ at this point to save time.
_tejucole: I export large jpegs, yes. My professional photographer friends are scandalized, but...*shrugs* It's a workflow, storage space and time management decision.

bleuowlf: Hi, Teju. Aren't mirrorless cameras better than compact, like the new X-T2? And: how much and how often do you clean the lenses and camera, by yourself and by giving it to the service centre? I often worry about and try to clean at least the lens a 2-3 times when I'm out all day. Thank you for doing this. // PS: I loved Blind Spot.
_tejucole: I don't know what "better" means though. The X-T2 has objectively fancier specs than the X70. It's also twice as big and costs twice as much. Twice as big means I'm less likely to carry it around with me. And I have to say, just judging from my experience shooting with one (admittedly with a zoom lens), I much preferred the optics on my X70.
_tejucole: I clean my lens once every couple of days. I often forget to. Soft glasses cloth, nothing elaborate.
_tejucole: And: 🙏🏾

rivrwind; Teju, thanks so much for your work. I don't have any questions but I just wanted to say that as I can't find a contact form for you. I'd also like to send you an essay, but understand if you don't have time to read unsolicited things. I used a fuji as well. Thanks again and stay well.
_tejucole: Yeah, serious time shortage. I sincerely wish it were otherwise.

cwmmwc: I wonder if you've used a Ricoh GR? I love mine but am intrigued by the X70. Similar in size and so forth. Thanks for sharing your thoughts 🙏
_tejucole: Never shot with a Ricoh.

jordiwaggoner: 28mm lens? How does that work for you? Are you always shooting really close up? We're the night portraits you have been posting lately shot with the Fuji? I like low light and don't like flash.
_tejucole: Yup, I get up close. And the night shots are all with the Fujifilm. It can pretty much see in the dark.

officeofdevelopment: were you tempted to try the x100f?
_tejucole: Nope. I don't know it. I think it was just about to come out when I was buying my X70.

blussome: What do you think of fuji's mirrorless cameras ? Xt1-or 2 ? Have you ever shoot with them ? Thank you.
_tejucole: They're super. But too big for my current needs: I want something I can slip into the pocket of my jacket.

sjplatt: Do you begin a new photographic epoch knowing what camera is best suited to what you think you're going for? Or does that come later, once you've invested more time and more sight?
_tejucole: The two things unfold at the same time. A new camera suggests new directions I may not have considered before. But the project at hand also means I'm pushing the camera in a certain direction; maybe I'll use a tripod, or maybe I'll underexpose, or maybe I'll shoot in bright sunlight. Google my essay "Far Away From Here" to see how the choice of a camera (a Yashica) influenced how I approached a given terrain (Switzerland).

officeofdevelopment: love the idea of the x70 as well, just a bit too wide for me
_tejucole: It doesn't wreck the verticals as much as you might think. Scroll back my last few and see. But there's definitely some peripheral distortion, which I occasionally fix in Lightroom.

unamericain: Tech Talk With Teju could be a recurring feature.
_tejucole@unamericain Yes, yes. But how do we monetize it?

yayitsrob: Have you found Lightroom to handle Fuji colors okay? There were rumors that it didn't for a while (which is why I just shot a month of travel with my Fuji XT20 in RAW and JPEG 😬).
_tejucole: I use Lightroom 5, not on the cloud. It looks fine to me. Can't read raw files though; that's a major flaw.
yayitsrob: Good to know. So you shoot JPEG then? (If so, that's reassuring to hear.)
yayitsrob: (and thanks for this little tech hour.)
_tejucole: I do, but it's vaguely irresponsible to do so as it limits some future possibilities. (Scroll up, I address this in an earlier reply.)

culdivsac: What about your black and white images? I know that you've shot several in the past with an iPhone. I'm particularly asking about an image of two hands on a wall, which you posted this June. Was it film or digital? It's one of my favorite pictures of all time.
_tejucole: Thank you. That photo was shot with the Fujifilm X70, in Umbria, Italy, and then worked on with Lightroom 5.

xavierbas: Hi Teju, for riverofimages how many shots of a situation in average you do to get one picture?
_tejucole: I think I'll usually do seven to a dozen before I feel one of them has captured what I'm after in a given situation. But only later do I figure out which one worked. And of course, quite often, none works at all. Meanwhile, in my film shooting, I rarely make more than three or four photos in any particular scene—unless a series is what I'm after. Often, with film, I just shoot once and move on.

officialroticanai: Hi when did iPhone stop working for you as a photo tool?
_tejucole: I still use it. It's just that my little Fuji makes much better images, and is small enough that I usually have it with me. So the iPhone is suffering a bit under this unfair set of circumstances. But it'll probably bounce back at some point; all my cameras do. It's a cycle.

bleuowlfI: use viewfinder a lot as it's often extremely bright here (India), but it takes quite a bit of time to adjust eyes off it. Do you also experience this or something similar?
_tejucole: Lack of viewfinder is a loss, definitely. I dislike having to switch on the camera even to consider a certain shot. But that lack is also what allows certain cameras to be so small. You'll have to decide which features are more important to you.
bleuowlf: Oh, I'm sorry for not being specific. My question was re … [more]
tejucole  2017  photography  cameras  fujifilmx70 
august 2017 by robertogreco
Kickstarter Gold: Balloon Mapping Kits by Public Lab — Kickstarter
"A simple DIY kit to take aerial photographs of things that are important to you - from hundreds of feet up. The drone alternative!"
classideas  aerialphotography  kites  balloons  photography  cameras  2017  mapping  diy 
june 2017 by robertogreco
Your Camera Wants to Kill the Keyboard | WIRED
"SNAPCHAT KNEW IT from the start, but in recent months Google and Facebook have all but confirmed it: The keyboard, slowly but surely, is fading into obscurity.

Last week at Google’s annual developer conference, the company presented its vision for how it expects its users—more than a billion people—to interact with technology in the coming years. And for the most part, it didn’t involve typing into a search box. Instead, Google’s brass spent its time onstage touting the company’s speech recognition skills and showing off Google Lens, a new computer vision technology that essentially turns your phone’s camera into a search engine.

Technology has once again reached an inflection point. For years, smartphones relied on hardware keyboards, a holdover from the early days of cell phones. Then came multitouch. Spurred by the wonders of the first smartphone screens, people swiped, typed, and pinched. Now, the way we engage with our phones is changing once again thanks to AI. Snapping a photo works as well, if not better, than writing a descriptive sentence in a search box. Casually chatting with Google Assistant, the company’s omnipresent virtual helper, gets results as fast, if not faster, than opening Chrome and navigating from there. The upshot, as Google CEO Sundar Pichai explained, is that we’re increasingly interacting with our computers in more natural and emotive ways, which could mean using your keyboard a lot less.

Ask the people who build your technology, and they’ll tell you: The camera is the new keyboard. The catchy phrase is becoming something of an industry-wide mantra to describe the constant march toward more visual forms of communication. Just look at Snapchat. The company bet its business on the fact that people would rather trade pictures than strings of words. The idea proved so compelling that Facebook and Instagram unabashedly developed their own versions of the feature. “The camera has already become a pervasive form of communication,” says Roman Kalantari, the head creative technologist at the design studio Fjord. “But what’s the next step after that?”

For Facebook and Snapchat, it was fun-house mirror effects and goofy augmented reality overlays—ways of building on top of photos that you simply can’t with text. Meanwhile, Google took a decidedly more utilitarian approach with Lens, turning the camera into an input device much like the keyboard itself. Point your camera at a tree, and it’ll tell you the variety. Snap a pic of the new restaurant on your block, and it’ll pull up the menu and hours, even help you book a reservation. Perhaps the single most effective demonstration of the technology was also its dullest—focus the lens on a router’s SKU and password, and Google’s image recognition will scan the information, pass it along to your Android phone, and automatically log you into the network.

This simplicity is a big deal. No longer does finding information require typing into a search box. Suddenly the world, in all its complexity, can be understood just by aiming your camera at something. Google isn’t the only company buying into this vision of the future. Amazon’s Fire Phone from 2014 enabled image-based search, which meant you could point the camera at a book or a box of cereal and have the item shipped to you instantly via Amazon Prime. Earlier this year, Pinterest launched the beta version of Lens, a tool that allows users to take a photo of an object in the real world and surface related objects on the Pinterest platform. “We’re getting to the point where using your camera to discover new ideas is as fast and easy as typing,” says Albert Pereta, a creative lead at Pinterest, who led the development at Lens.

Translation: Words can be hard, and it often works better to show than to tell. It’s easier to find the mid-century modern chair with a mahogany leather seat you’re looking for when you can share what it looks like, rather than typing a string of precise keywords. “With a camera, you can complete the task by taking a photo or video of the thing,” explains Gierad Laput, who studies human computer interaction at Carnegie Mellon. “Whereas with a keyboard, you complete this task by typing a description of the thing. You have to come up with the right description and type them accordingly.”

The caveat, of course, is that the image recognition needs to be accurate in order to work. You have agency when you type something into a search box—you can delete, revise, retype. But with a camera, the devices decides what you’re looking at and, even more crucially, assumes what information you want to see in return. The good (or potentially creepy) news is that with every photo taken, search query typed, and command spoken, Google learns more about you, which means over time your results grow increasingly accurate. With its deep trove of knowledge in hand, Google seems determined to smooth out the remaining rough edges of technology. It’ll probably still be a while before the keyboard goes extinct, but with every shot you take on your camera, it’s getting one step closer."
interface  ai  google  communication  images  cameras  2017  snapchat  facebook  smartphones  lizstinson  imagerecognition  pinterest  keyboards  input  romankalantari  technology  amazon  sundarpichai  albertpereta  gieradlaput 
may 2017 by robertogreco
Light L16 Camera: Gathering Light HD - YouTube
"Share from

The L16: Under-the-hood
by Rajiv Laroia, Light co-founder and CTO

Since launching the L16, we have received many questions about how Light’s computational imaging technology works. While the final product specifications won’t be announced until spring 2016, we are glad to share a bit more information about our systems design approach to photography.

Below is a video of a talk I gave at Stanford University two weeks ago, which provides more details about Light’s technology. We're including some time markers to make navigating a bit easier. While this talk is still fairly broad, I hope it’ll answer a few more of your technical questions. You can also check out this great article by Tim Moynihan at WIRED to learn more about how the L16 will work.

Our team will be releasing more information and more images on our website and blog in the coming weeks, so stay tuned!

In a nutshell, what is the Light camera, and what problem are you solving? (1:50)

What are the innovations that make the L16 possible? (4:02)

Tell me more about molded plastic lenses… (4:52)

But how can plastic lenses possibly be as good as glass lenses? (5:15)

How are plastic lenses better? (6:45)

Tell me more about diffraction… (8:45)

Why are smartphone cameras not good enough? (10:20)

How does the L16 solve common smartphone camera issues? (14:52)

How does the L16 take a picture? (17:00)

What does the inside of the L16 camera look like? (21:20)

How does the L16 combine images? (22:25)

How does the L16 capture 10x the amount of light as a cell phone camera? (26:18)

How does the L16 give you continuous optical zoom from 35mm-150mm? (28:02)

How do we control depth-of-field, boquet and perspective using computational imaging? (31:55)

What about High Dynamic Range (HDR)? (34:20)

What about low-light performance? (35:50)

What about aperture and shutter control? (37:00)

Can I see some pictures taken with the camera? (40:55)

If an object is close to the camera and it gets out of parallax, what do you do? (44:10)

How do you handle calibration on the cameras? (45:05)

Is there an optimal number of sensors and lenses? Why did you choose 16? (47:38)

Where does the processing happen? (48:27)

Is there a difference in color between each module? (49:40)

Is there a plan for image stabilization? (50:10)

How does the user interact with the camera? (52:06)

Does the camera capture video and do you plan to bring the technology to smartphones? (53:40)

How good is your battery life? (54:28)

How did you decide on the particular arrangement of the camera modules? (55:03)

What was your biggest surprise on this journey? (56:04)

Does the camera have a problem with distortion? (56:57)

Can you give some more detail about calibration? (58:00)

Will the L16 have enough computational capabilities? (58:39)"
photography  cameras  via:craigmod  rajivlaroia  lenses  technology  2015  l16 
april 2017 by robertogreco
How the BBC makes Planet Earth look like a Hollywood movie - YouTube
"The technology behind the cinematic style of the BBC's Planet Earth II.

Check back next Monday for the next episode in this mini-series."
planetearth  bbc  filmmaking  cinematography  wildlife  nature  documentary  2017  cameras  stabilization  history 
february 2017 by robertogreco
Faroe Islands fit cameras to sheep to create Google Street View | Travel | The Guardian
"Tired of waiting for Google to map the archipelago, Faroe Islanders have launched Sheep View 360, enlisting their ovine population to do the leg work"

"Living across 18 tiny sub-polar islands in the north Atlantic, Faroe islanders are used to working in difficult conditions. So tired of waiting for Google Street View to come and map the roads, causeways and bridges of the archipelago, a team has set up its own mapping project – Sheep View 360.

With the help of a local shepherd and a specially built harness built by a fellow islander, Durita Dahl Andreassen of Visit Faroe Islands has fitted five of the island’s sheep with a 360-degree camera.

[video: ]

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As the sheep walk and graze around the island, the pictures are sent back to Andreassen with GPS co-ordinates, which she then uploads to Google Street View.

“Here in the Faroe Islands we have to do things our way,” says Andreassen. “Knowing that we are so small and Google is so big, we felt this was the thing to do.”

So far the Sheep View team have taken panoramic images of five locations on the island. They have also produced 360 video so you can explore the island as if you are, quite literally, a sheep.

[video: ]

The islands have a population of 80,000 sheep and 49,188 humans.

As well as obviously helping promote the island to visitors, the project is part of a campaign to convince Google to come to the island to complete the mapping project. Visit Faroe Islands have launched a petition and the hashtag #wewantgooglestreetview to promote its case.

But would Google Street View ruin the beauty that comes from being such an isolated place? “I think that we’re ready for this,” says Andreassen. “It’s a place that has always been so hidden and far away from everything, but I think that we are ready to invite people to the place.”

Guardian Travel contacted Google to ask if they had any plans to map the Faroe Islands. They would not comment, but pointed out that anyone is welcome to create their own Street View experiences and apply to borrow Google’s camera equipment.

It’s not the first time a project has brought together Google Street View and sheep. Last year the Google Sheep View blog was launched, which collected images of sheep found on Street View to celebrate the year of the sheep."

[See also: ]
multispecies  animals  sheep  streetview  googlestreeview  cameras  gopro  faroeislands 
july 2016 by robertogreco
Ghost in the machine: Snapchat isn’t mobile-first — it’s something else entirely — Free Code Camp
"Snapchat is not mobile-first, and it’s not really an app anymore. Nor is it a meta-app platform at this point like Facebook Messenger is angling to become (at least not yet). Snapchat is a true creature of mobile, a living, breathing embodiment of everything that our camera-enabled, networked pocket computer can possibly offer. And in its cooption of smartphones into a true social operating system, we see the inklings of what is beyond mobile.
When I open Snapchat up to the camera, I can’t shake the feeling that the ghost is banging on the glass, trying to break out into the world."
snapchat  benbasche  2016  photography  ar  augmentedreality  design  ux  ui  media  susansontag  nathanjurgenson  cameras  feeds  mobile  mobilefirst  twitter  facebook  instagram  experience  socialmedia  smartphones  uber  authenticallymobile  evanspiegel 
july 2016 by robertogreco
2.5 million animal selfies reveal that nature is still going strong | Fusion
"The photos from camera traps offer scientists a behind-the-scenes look at the lives of wild animals in their natural setting, and in their natural behavior. This can help biologists and conservationists better understand how animals utilize habitat, socialize with each other and even what they eat.

While many of the photos from these cameras are grainy and out of focus, there is a growing movement to use higher quality cameras, such as DSLRs, to create stunning images that are both artistic and informative."
animals  photography  multispecies  ariphillips  nature  wildlife  cameras  cameraencounters  cameratraps 
january 2016 by robertogreco
[via: "dunno quite why, but still intrigued by this camera that makers purport takes DSLR quality shots in slim form factor "

"i guess 'fidelity' and 'quality' are just lost objects - focal absences or lacks in relation to which we orient desire (for completion)."

"...which reminds me a lot of this TNI essay about audiophiles and the desire for perfect reproduction. …"

"perfect pictures from paper-thin, translucent machines, our self-destruction purified by vaping. desire, made evanescent, like sunshine." ]
cameras  light  photography 
december 2015 by robertogreco
Far Away From Here - The New York Times
"But ambition always comes to darken your serenity. Technically proficient mountain pictures were good, but I also had to develop my own voice. In photography, as in writing, there’s no shortcut to finding that voice. I could not decide ahead of time that I would take only ugly pictures or only beautiful ones, or that everything would be in focus or blurred, or that I would use only color or only black and white. I had been thinking about landscape, I had been exploring color film for a few years, I was drawn to abstraction, and a certain gentle surrealism to be found in the attitude of objects. But there then followed a situational focus, a sensitivity to what the environment gave me.

Out of this focus, many pictures emerged, most of which didn’t quite work. But I also started to intuit my ley lines. As I shot more and more, I saw that I was drawn to signs, to mirrors in the landscapes (in Switzerland, there are rectangular mirrors at many street crossings, which frame the landscape behind you above the one you are facing), to maps and globes, to mountains as well as to pictures of the mountains in billboards and posters. I noticed — proof perhaps that we cannot help thinking of mountains photographically, the way we cannot help thinking of explosions cinematically — that some of my photographs of mountains looked like photographs of photographs of mountains. I was drawn to this shimmering partition between things and the images of things.

I became less interested in populating my images and more interested in traces of the human without human presence. I used deep shadows less frequently than I had in the past. I pretty much ceased nocturnal shooting. As the sequence began to take shape, I got a better sense of what belonged and what didn’t. I was studying photographs constantly, but I also immersed myself in the rhythms of certain painters and collagists: Chardin, Matisse, Rauschenberg, Mehretu, Mutu. I let go of some ‘‘good’’ photos, the way you strike out pretty sentences from a draft, and I learned how a number of tightly argued photos should be followed by one or two that are simpler and more ventilated. Authorship, after all, is not only what is created but also what is selected.

Along the way, I felt the constant company of doubt: my lack of talent, my impostor’s syndrome, my fear of boring others. Every once in a great while, there was finally a superb picture, but when I looked at it the following week, I would see that it actually wasn’t very good: too obvious, too derivative. Three thousand photographs and three thousand doubts."

"July 2015. Late afternoon. A hotel room in Zurich. I’ve been out shooting all day and have made no good pictures. I remove my lens cap. I’m shooting with a Canon Elan 7 now, a lovely lightweight film S.L.R. from around 2000. I pivot the camera on its tripod. Covering the front of the free-standing wardrobe in the room is a picture of a ship on a lake, beyond which are mountains. You could wake up suddenly at night in this room and, seeing that lake dimly lit by a streetlight, imagine yourself afloat: the slightly vertiginous thrill of being nobody, poised in perfect balance with the satisfaction of having, for that moment, a room of your own.

I face the wardrobe. I open the windows behind me and increase the camera’s exposure setting slightly. A black lamp, gray striped wallpaper, the wardrobe, a foldable luggage rack, black light switches, a brazen handle on a black door. Arrayed like that, they look like an illustration in a child’s encyclopedia. This is a door. This is a ship. This is a lake. This is a mountain. This is a room to which you long to be away, a room redolent of fernweh. This is a man in a room, crouched behind the camera, readying his shot, far away from home, not completely happy, but happier perhaps than he would be elsewhere."
tejucole  2015  photography  switzerland  hsitory  basel  zurich  cameras 
september 2015 by robertogreco
The GoPro That Fell to Earth - Video -
"In June 2013, members of the Grand Canyon Stratospheric Balloon Team and launched a balloon with a camera into the stratosphere, where it burst. It was found by a hiker two years later."
via:austinkleon  gopro  cameras  space  earth  satelliteimagery  aerialimagery  2013  2015 
september 2015 by robertogreco
Chimpanzees who attacked drone with a STICK took 'deliberate action' | Daily Mail Online
"• Drone was filming at Royal Burgers Zoo chimp enclosure for a TV show
• Chimpanzees spotted the drone - and one grabbed a branch
• On its second attempt, it knocked the drone out of the sky "

[via: ]

[See also: “ Burgers' Zoo's Tushi the chimp planned drone attack, researchers say”

[Previously: ]
chimpanzees  cameras  multispecies  dones  gopro  cameraencounters  animals  zoos  2015  via:austinkleon  quadcopters  primates 
september 2015 by robertogreco
Gopro Cinema |
"Because like everyone but the really good people I don’t blog enough anymore, here is an honest-to-god blog post about an idea that’s not really there yet, but I keep thinking about.

Three takes on non-human photography, on a spectrum"

"As wiser people have pointed out, human-animal relationships provide an interesting viewpoint on human-technological relationships. What happens when we free the camera from the eye, and thus from anthropocentrism?"
jamesbridle  gopro  cameras  animals  multispecies  aesthetics  pov  video  film  filmmaking  leviathan  newaesthetic  jacquestati  playtime  streetview  googlestreetview  photography  videography  cinematography  sweetgrass  sensoryethnographylab  human-animalrelations  human-animalrelationships  pets  farms  luciencastaing-taylor  vérénaparavel 
july 2015 by robertogreco
Snapshot Serengeti
"Over the last 45 years, the University of Minnesota Lion Project has discovered a lot about lions – everything from why they have manes to why they live in groups. Now we’re turning our sights to understanding how an entire community of large animals interacts. We currently monitor 24 lion prides in Serengeti National Park, Tanzania, using radio-tracking. To collect information about other species, we’ve set out a grid of 225 camera traps. With photographs from these cameras, we’re able to study how over 30 species are distributed across the landscape – and how they interact with lions and one another."


See also: ]
animals  cameras  photography  identification  crowdsourcing  africa  science  zooniverse  tanzania  serengeti 
june 2015 by robertogreco
Dog-eyed view: the camera that takes a photo whenever your dog gets excited - video | World news | The Guardian
"A new gadget has been developed that straps a camera to your dog's chest, monitors its heart rate and takes a picture whenever it's excited. The product comprises the camera, a specially designed camera case, and a heart-rate monitor strap that communicates with the case via Bluetooth to cause the shutter to trigger when the dog's heartbeat increases"

[ ]
pets  cameras  dogs  quantifiedpet  2015  nikon  photography  animals  multispecies  heartography 
may 2015 by robertogreco
PICTURES - marclafia
"With these new works I want to re-imagine, reinvent time, to see it as a physical dimension, to create an object of the image, that doesn't obliterate it, but teases out its trajectories and brings it back from its overexposure in its continual transmission. Of course the image will never exhaust itself in its repetition but become so domesticated that all its initial charge is gone. How then to see these familiar pictures but to rework them and make them new again with other pictures.

With the use of perspective and lenses long before photography, western picture making, not unlike genres of movies were pretty stable. There were the genres of History, Landscape, Portraiture and Still Life. Picture and picture making was regulated by the church then academies and the discourse around them narrow. It was this controlled discourse, this decorum of the picture and its reception that artists worked against that created occasional shocks and outrage.

My first interest was in History paintings but over time it became the history of painting and with that the history of photography, and I suppose a history of image. I had always been taken by Manet's Execution of Maximilian and only learned at the outset of my project that what Manet had created and abandoned as a painting was also an event that was photographed. Manet's cool and dispassionate take on the event contrasted with Goya's painting Third of May and Goya was in conversation with Rubens and Rubens, Leonardo.

Pictures have often, if not always, been about and in conversation with other pictures. This led me to think of pictures in their many modes and many genres across time and to want to create conversations amongst and between them. I began to imagine new images, to see new things, new thoughts often times by simply placing one image on another, or layering images and cutting them out. These new pictures pointed to things sometimes difficult to discern but there was always a something.

Images in their traces, in their histories, carry forward their techniques, their textures, their surfaces and armatures, their politics. They enfold the world they come from and in conversation I imagined they could present new worlds.

Where images once were the preserve of national archives, ubiquitous digital transmission today is global and each of us has become our own archivists. As to what is, and is not in the archives, and there are a host of them, from a wide variety of transnational corporate search engines and social network services, that is something to discuss elsewhere.

To see these images, to sense their thoughts, we have to look at them with other images. we have to engage them in conversation, in the conversation of images.

All images and sounds are code. As code, they are fluid, viral, infectious, malleable, erasable, moving easily in and out of a wide variety of indifferent contexts.

My interest lies less in photographing reality, and instead focuses on portraying the realities of photography and imaging in the regime of the network, as the world is a network of relations and the network is both a camera and archive, an apparatus of image exchange and circulation.

I want to be clear that when I say picture it may be a mathematical formula, a musical score, a line of code, each of them is a picture. Our capacity to produce Pictures is our capacity to think outside and beyond the present, to go backwards and forwards in time."

[via: ]
marclafia  networks  internet  archives  cameras  pictures  images  imagery  2015  present  past  atemporality  history  conversation  web  online  time  memory  transmission  paintings  code  fluidity  virality  flexibility  erasability  context  exchange  communication  remixing  remixculture  socialmedia  socialnetworking  socialnetworks  arthistory 
april 2015 by robertogreco
prosthetic knowledge — Pinhole Cinema Project from Fuwari Lab is a...
"Pinhole Cinema

Project from Fuwari Lab is a cardboard headset with tiny holes that project an alternative viewpoint inside it:

[embedded video: ]
Workshop to make a pinhole cinema that can be enjoyed by wearing the head. To make your own movie theater in a box of size that can be mounted on the head … Images are projected therein, enters from a small hole drilled in the box …

More (in Japanese) here [ ]"

[See also: ]
projectideas  perspective  perception  cameras  vision  fuwarilab  glvo  pinholecameras 
april 2015 by robertogreco
Sony Gave An Octopus At A New Zealand Aquarium A Camera; Trains It To Photograph Tourists - DIY Photography
"Octopuses are pretty wondrous animals with all those legs and insanely astute critical thinking skills. It’s actually not surprising at all an animal trainer working at Kelly Tarlton’s Sea Life Aquarium in New Zealand, was able to train an octopus to take photos. In fact, it only took “Rambo” the octopus three attempts to understand how the process works.

Now, Rambo charges a cool $2 for a visitor to her tank to sit for a portrait taken by the octographer. The small donation goes directly to the aquarium to help offset expenses. But, if you’re looking to have Rambo take your photo, be sure to check her hours first, as the aquarium says she on a light work schedule.

Take a look:

[Ad on YouTube: ]
“When we first tried to get her to take a photo, it only took three attempts for her to understand the process. That’s faster than a dog. Actually it’s faster than a human in some instances.” Mark Vette, traine

In front her tank, there’s a backdrop where visitors can pose for their photos. It appears these children on a school trip to the aquarium thoroughly enjoyed the experience.

The camera, a Sony DSC-TX30, was secured into a custom made housing to mount onto Rambo’s tank. The campaign was sponsored by Sony to help show how durable their camera is and to raise awareness of octopuses high level of intelligence."

[via: ]
animals  octopus  cephalopods  2015  sony  advertising  technology  photography  cameras 
april 2015 by robertogreco
Miroslav Tichý - Wikipedia
"Miroslav Tichý (Czech pronunciation: [cɪxiː]; November 20, 1926 – April 12, 2011) was a photographer who from the 1960s until 1985 took thousands of surreptitious pictures of women in his hometown of Kyjov in the Czech Republic, using homemade cameras constructed of cardboard tubes, tin cans and other at-hand materials. Most of his subjects were unaware that they were being photographed. A few struck beauty-pageant poses when they sighted Tichý, perhaps not realizing that the parody of a camera he carried was real.[1][2]

His soft focus, fleeting glimpses of the women of Kyjov are skewed, spotted and badly printed — flawed by the limitations of his primitive equipment and a series of deliberate processing mistakes meant to add poetic imperfections.[3]

Of his technical methods, Tichy has said, "First of all, you have to have a bad camera", and, "If you want to be famous, you must do something more badly than anybody in the entire world."[4][5]

During the Communist regime in Czechoslovakia, Tichý was considered a dissident and was badly treated by the government. His photographs remained largely unknown until an exhibition was held for him in 2004. Tichý did not attend exhibitions, and lived a life of self-sufficiency and freedom from the standards of society.[4]"

[See also: ]
miroslavtichý  cameras  photography  diy  homemade  cardboard 
april 2015 by robertogreco
How My Dog Sends Selfies
"A few weeks after we got our puppy, we taught her how to turn on a light.
Turns out Kaira will do just about anything if you can clearly communicate your desires and have a treat in your hand. There’s an Ikea lamp in our bedroom that’s activated by stepping on a floor switch. We started Kaira’s training by placing her paw on the switch, saying “Light,” and giving her a treat. Once she had that down, we’d press down on her paw and withhold the treat until she heard a “click.” Eventually, we got to the point where we could say “Light” from across the room and Kaira would run over and do the job:


So let’s say you’ve a dog that can press a button. What could you do with that?
Doggy Selfies
A couple months after Twilio launched MMS, I was reading through one of Ricky Robinett’s hardware hacking posts and started to wonder if there was a way to get Kaira to send me selfies. Thanks to the Arduino Yun, the answer to that question is a resounding “Yes!”


What you’re seeing in the video is a cigar box that houses a massive arcade button and an Arduino Yun. The second cigar box merely serves as a stand for the webcam that’s plugged into the Yun. (My local cigar shop sells empties for $2 — they make for sturdy and stylish enclosures for your hardware projects)."
dogs  animals  cameras  selfies  arduino  human-animalrelations  human-animalrelationships  arduinoyun  twilio  gregbaugues  buttons  multispecies 
march 2015 by robertogreco
From the series (and book) Animals That Saw Me, Ed... - robertogreco {tumblr}
[self-bookmarking for easier retrieval thanks to the superior tagging features of Pinboard]

"From the series (and book) Animals That Saw Me, Ed Panar, 1993-2010
Roaming the natural and urban world with a camera for over 16 years, often alone, on foot, keeping a low profile, Ed Panar has repeatedly been caught in the act of photography—not by other people, but by a random assortment of familiar animals: cows, cats, frogs, dogs, turtles, deer, geese…you name it. The animal sees Ed, and Ed sees the animal; an unspoken communication passes between them. If he’s lucky, the moment is captured on film, catalogued, tagged for future reference. In Animals That Saw Me: Volume One Panar brings together the first collection of his most surprising and unexpected encounters with ordinary fauna—a brief, deadpan field study of the uncanny moment of recognition between species. What exactly have the animals seen? The pictures are a reminder that we must appear as strange and exotic to them as they do to us.

See also this interview with Panar."
animals  photography  human-animalrelationships  human-animalrelations  cameras  edpanar  communication  multispecies 
march 2015 by robertogreco
From the series Dogs Chasing My Car in the Desert,... - robertogreco {tumblr}
[self-bookmarking for easier retrieval thanks to the superior tagging features of Pinboard]

"From the series Dogs Chasing My Car in the Desert, John Divola, 1996-1998
From 1995 to 1998, I worked on a series of photographs of isolated houses in the desert at the east-end of the Morongo Valley in Southern California. As I meandered through the desert, a dog would occasionally chase my car. Sometime in 1996 I began to bring along a 35mm camera equipped with a motor drive and loaded with a fast and grainy black-and-white film. The process was simple; when I saw a dog coming toward the car I would pre-focus the camera and set the exposure. With one hand on the steering wheel, I would hold the camera out the window and expose anywhere from a few frames to a complete roll of film. I’ll admit that I was not above turning around and taking a second pass in front of a house with an enthusiastic dog. Contemplating a dog chasing a car invites any number of metaphors and juxtapositions: culture and nature, the domestic and the wild, love and hate, joy and fear, the heroic and the idiotic. It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise.

That’s quoting Divola from the Amazon page for the book of the same title. See also Divola’s Dog Sequences (Look inside the book here.) and “John Sevigny: On John Divola’s Dogs Chasing My Car in the Desert.” (via referencescout)"
dogs  animals  photography  human-animalrelationships  human-animalrelations  cameras  johndivola  deserts  socal  california  multispecies 
march 2015 by robertogreco
GODARD MONTAGE: Chris Marker's Camera-Stylo / "Notes On Filmmaking"
"To return to Astruc, tonight's film Sans Soleil is an example of "La Camera-Stylo" par excellence. An entire book could be dedicated to Marker's editing in the film, so I will not focus on it in particular at the moment; suffice to say the montage would not have been as effective if the footage itself was not shot with such patient and active framing and movement, by a true camera-writer. I am also choosing not to mention the text, which is of course essential to the film – my focus is solely on the creative independence offered by the small camera, which Astruc so presciently predicted.

The majority of the footage was shot by Marker himself, using a silent 16mm Beaulieu film camera to capture his own compendium of "things that quicken the heart." Although notes on the production are scare if existent at all due to Marker's public reclusiveness, we can assume a number of basic qualities that tie back to Astruc's ideas. Marker's footage seems to have been shot as the events and subjects were discovered and unfolding, and the lightweight Beaulieu provided the discreet ability to write with motion anywhere at any time during Marker's travels. Here we can note the uncanny clarity and purpose with which Marker investigates and focuses on his subjects. Early in the film at the cat cemetery in Tokyo, we have reason to suspect the man behind the camera is not an amateur but truly an auteur cameraman, as Marker moves to reframe the woman praying to the cat shrine.


Some of my other favorite stills from the film – needless to say a pretty difficult task to choose. Note the care in framing and composition:


Serving as the film's editor as well as the fictional narrator and fictional cameraman Sandor Krashna (Krashna's friend Hayao Yamaneko is also Marker, the name translating to "Mountain Cat" or "Wild Cat," cats being of course a favorite animal [of the filmmaker]) Marker creates a work that the term "essay film" only begins to describe. Indeed, this type of filmmaking seems a direct extension of Astruc's idea of the roles of screenwriter and director losing their distinction as new technology permits the evasion of the industrial mode of filmmaking that had so far codified into the classical Hollywood system and its worldwide exponents.

Marker's process is not unlike writing a novel or essay, wherein the author is alone with his stylus, writing an excess of ideas and musings which will ultimately be edited into its final form. Except with Marker, the writer is out engaging with the events of the world. Watching the film I feel as I am discovering cinema's potential for the first time – Sans Soleil gives lie to the notion that a fledgling filmmaker must be follow some arbitrary industrial production procedure in order to produce a work that is personal, affective, complex and sincere. As Abbas Kiarostami notes on his masterclass 10 on Ten, in regards to the small DV camera he used on Ten, small cameras "allow the artist to work alone again." Here the distinction between documentary and fiction loses its relevance in the same way it did for Godard in 2 or 3 Things I Know About Her. As Sam mentioned following the screening, it's simply because Marker and Godard choose to simply make a film and do not worry about the categories and genres which are ascribed after the fact.

Below is an excerpt from Marker's text I transcribed from the Criterion box set for Sans Soleil/La Jetee. I cannot help but take Marker's point that technology today could allow for anyone to create something extremely personal and exploratory, free from the restraints of capital. Although his reference to Vertov is certainly appropriate, Astruc could have been evoked just as easily. The real question is: with the advent of incredibly cheap HD video cameras (this generation's Beaulieu), why aren't there more films produced in kindred spirit with Sans Soleil? Why are there virtually no other camera-writers and most importantly:

"Will there be a last letter?"

- Ian


Notes On Filmmaking
by Chris Marker

Working on a shoestring, which in my case is more often a matter of circumstance than of choice, never appeared to me as a cornerstone for aesthetics, and Dogme-type stuff just bores me. So it's rather in order to bring some comfort to young filmmakers in need that I mention these few technical details: The material for La Jetee was created with a Pentax 24x36, and the only "cinema" part (the blinking of the eyes) with an Arriflex 35mm film camera, borrowed for one hour. Sans Soleil was entirely shot with a 16mm Beaulieu silent film camera (not one sync take within the whole film), with 100-foot reels – 2'44" autonomy! –and a small cassette recorder (not even a Walkman; they didn't exist yet). The only "sophisticated" device – given the time – was the spectre image synthesizer, also borrowed for a few days. This is to say that the basic tools for these two films were literally available to anyone. No silly boasting here, just the conviction that today, with the advent of computer and small DV cameras (unintentional homage to Dziga Vertov), would-be directors need no longer submit their fate to the unpredictability of producers or the arthritis of televisions, and that by following their whims or passions, they perhaps see on day their tinkering elevated to DVD status by honorable men."
chrismarker  budget  constraints  filmmaking  lajetée  sanssoleil  audio  film  tools  howwework  cinematography  cameras  editing  framing  composition  dzigavertov  technology 
march 2015 by robertogreco
Elke Vogelsang's dog portraiture - Telegraph
[See also:

“Elke Vogelsang has taken dog portraits to a new level.

After buying a compact camera a few months ago, the photographer from Hildesheim, Germany, decided to use it to start a photo series, Nice Nosing You, in which she takes humorous photos of her three rescue dogs, Today reported.” ]

[See also: and ]
dogs  pets  via:anne  cameras  photography  elkevogelsang  animals 
march 2015 by robertogreco
'Racism' of early colour photography explored in art exhibition | Art and design | The Guardian
"Can the camera be racist? The question is explored in an exhibition that reflects on how Polaroid built an efficient tool for South Africa's apartheid regime to photograph and police black people.

The London-based artists Adam Broomberg and Oliver Chanarin spent a month in South Africa taking pictures on decades-old film that had been engineered with only white faces in mind. They used Polaroid's vintage ID-2 camera, which had a "boost" button to increase the flash – enabling it to be used to photograph black people for the notorious passbooks, or "dompas", that allowed the state to control their movements.

The result was raw snaps of some of the country's most beautiful flora and fauna from regions such as the Garden Route and the Karoo, an attempt by the artists to subvert what they say was the camera's original, sinister intent.

Broomberg and Chanarin say their work, on show at Johannesburg's Goodman Gallery, examines "the radical notion that prejudice might be inherent in the medium of photography itself". They argue that early colour film was predicated on white skin: in 1977, when Jean-Luc Godard was invited on an assignment to Mozambique, he refused to use Kodak film on the grounds that the stock was inherently "racist".

The light range was so narrow, Broomberg said, that "if you exposed film for a white kid, the black kid sitting next to him would be rendered invisible except for the whites of his eyes and teeth". It was only when Kodak's two biggest clients – the confectionary and furniture industries – complained that dark chocolate and dark furniture were losing out that it came up with a solution.

The artists feel certain that the ID-2 camera and its boost button were Polaroid's answer to South Africa's very specific need. "Black skin absorbs 42% more light. The button boosts the flash exactly 42%," Broomberg explained. "It makes me believe it was designed for this purpose."

In 1970 Caroline Hunter, a young chemist working for Polaroid in America, stumbled upon evidence that the company was effectively supporting apartheid. She and her partner Ken Williams formed the Polaroid Workers Revolutionary Movement and campaigned for a boycott. By 1977 Polaroid had withdrawn from South Africa, spurring an international divestment movement that was crucial to bringing down apartheid.

The title of the exhibition, To Photograph the Details of a Dark Horse in Low Light, refers to the coded phrase used by Kodak to describe a new film stock created in the early 1980s to address the inability of earlier films to accurately render dark skin.

The show also features norm reference cards that always used white women as a standard for measuring and calibrating skin tones when printing photographs. The series of "Kodak Shirleys" were named after the first model featured. Today such cards show multiple races.

Broomberg and Chanarin made two recent trips to Gabon to photograph a series of rare Bwiti initiation rituals using Kodak film stock, scavenged from eBay, that had expired in 1978. Working with outdated chemical processes, they salvaged just a single frame. Broomberg said: "Anything that comes out of that camera is a political document. If I take a shot of the carpet, that's a political document.""
photography  race  racism  2013  polaroid  cameras  southafrica  kodak  africa  jean-lucgoddard  adambroomberg  oliverchanarin 
march 2015 by robertogreco
A love letter to the Pacific Northwest
"Snapping black-and-white shots on his iPhone, photographer Aaron Lavinsky reveals Washington state's colorless beauty"
washingtonstate  olympicpeninsula  2015  photography  iphone  cameras  aaronlavinsky  saraheberspacher  aberdeen  graysharbor  lakecrescent  hohrainforest  olympicnationalpark  lakequinalt  rubybeach  hurricaneridge  taholah 
february 2015 by robertogreco
Digital Culture is Like Oral Culture Written Down — The Civic Beat — Medium
[via: ]

"Digital Culture is Like Oral Culture Written Down: Calling a selfie stick or lunch pic narcissistic reflects a written culture perspective. Here’s how I reframe things.

We’re recognizing, for instance, how social media can facilitate the spread of rumors and misinformation. We’re acknowledging that verbal cyberbullying and online harassment can be deeply painful. Activist hashtagging continues in the tradition of call and response of chants and slogans. Conversation is a key principle in the new Cluetrain Manifesto: “The Net is not a medium any more than a conversation is a medium.”

All these discussions point to how social media has more of an oral, rather than literate, culture. By focusing just on what people post, we’re missing the point: social context, relationships and nonverbal gestures matter as much as the words and images themselves.

In other words, a selfie is never just a selfie. It exists in a broader social context, and just because some people take them narcissistically doesn’t mean that all, or even most, do.


Oral Culture/Print Culture
Shift the framework from print culture to oral culture, and much of the way we use social media sounds a little less crazy and little more, well, human. The Out of Eden Walk project is fond of calling its online community a digital campfire. I like that image; like idle chitchat and storytelling around a campfire, the conversations we have on social media often resemble oral conversations written down.

In that vein, here are a few general complaints against social media that I often hear (do they sound familiar?), and a potential way to reframe them (though to be honest, they’re each worthy of an essay). Because I look at images as much as words on the web, I prefer to use the term print culture, by which I hope to encompass both image- and word-based communications before the internet:

Print culture: People waste time posting pictures of their pets.
Oral culture: People tell silly stories about their pets all the time. Photos make those stories easier.

Print culture: Who cares what you’re having for lunch?
Oral culture: Eating food together, preparing food and talking about said food is one of the most fundamentally social things human beings do.

Print culture: Selfies are the height of vanity and narcissism.
Oral culture: Selfies help express emotion and tell stories. The written word lacks all the nuance of the human face, and selfies help fill that gap.

Print culture: There are literally thousands of people documenting this event with their cameras. Why do you need to take a picture too?
Oral culture: I’m taking this photo to share it with friends. It has to come from me, from my perspective, because I’m the storyteller.

Print culture: Punctuation marks help disambiguate meaning, words, and sentences. Be sparing with exclamation marks and semicolons.
Oral culture: Punctuation marks indicate emphasis. And tone… And emotion! And confusion‽‽‽ And. Every. Mode. Of. Expression. Under. The. Sun. ;)

Print culture: Ur spelling iz awful. Write proper English.
Oral culture: Variants of standardized language are probably as old as words themselves.

Print culture: Use hashtags to express topicality.
Oral culture: Use hashtags to #chant, to have a #metaconversation. Or #justbecause. #somanywaystousehashtags

Print culture: Think carefully about how you arrange words to convey exactly what you mean to say.
Oral culture: I has the feels. Here’s a GIF.


There are major differences between digital culture and oral culture, of course.

For one, you can’t index what people are saying in aural space (unless you’re using voice recognition software or audio recordings, etc.). Something you say in one place rarely escapes the physical constraints of sound; in digital culture, one sentence or image can go global rather quickly.

As well, print culture is still an important part of the dialogue, as it always has been, because digital technologies evolved from print technologies and share much of the same functionality. Digital culture has a permanence that’s as helpful for cultural heritage as it is for surveillance.

As law professor James Grimmelmann has written in response to some of my Tweets on this subject, this also has significant effects for the law:

Observers who expect that social media should have the dignity and gravity of the written word can feel affronted when others use social media more informally.

I see this slippage at work in Internet law all the time. The legal system repeatedly asks itself whether social media should be taken seriously.

In general, I find it more helpful, when looking at how people live and interact online, to take an oral culture orientation. We shouldn’t stop there, of course, because digital culture is not exactly oral culture. But with a better frame, we can then dive into the specifics of each practice to try to figure out what’s going on.

So back to the selfie stick.

In general, as we see more people from different cultures coming online, my guess is that cultures with rich oral traditions are more likely to be early adopters of practices that might initially seem odd to the more writerly types. Emoji, GIF stickers, walkie talkie text messages and selfie sticks all come to mind—there’s a reason these have tended to be more popular in Asia initially, where oral culture flourishes online (h/t selfie writer Alicia Eler). Especially when it comes to selfies and group photos, photos don’t end with the picture taking. Rather, everything about these photos — from taking them, sharing them and talking about them — is a vehicle for social bonding, storytelling, talking, etc.

Print culture: Selfie sticks help us extend our narcissism to new heights.
Oral culture: Selfie sticks help us tell better and more varied stories about what we’re up to. We can include a larger group of people. More of the background and scenery. The more detail, the better. Selfies allow us to take and frame the picture as a social experience with friends, making sure it comes from our own perspectives, not that of a stranger.

Oh, and they’re fun, to boot."

[Related: ]
emoji  selfies  selfiesticks  anxiaomina  2015  culture  orality  conversation  internet  socialmedia  online  web  print  publishing  literacy  multiliteracies  punctuation  spelling  language  communication  hashtags  gifs  storytelling  interaction  relationships  chitchat  photography  cameras 
january 2015 by robertogreco
Ai Weiwei is Living in Our Future — Medium
'Living under permanent surveillance and what that means for our freedom'

"Put a collar with a GPS chip around your dog’s neck and from that moment onwards you will be able to follow your dog on an online map and get a notification on your phone whenever your dog is outside a certain area. You want to take good care of your dog, so it shouldn’t be a surprise that the collar also functions as a fitness tracker. Now you can set your dog goals and check out graphs with trend lines. It is as Bruce Sterling says: “You are Fluffy’s Zuckerberg”.

What we are doing to our pets, we are also doing to our children.

The ‘Amber Alert’, for example, is incredibly similar to the Pet Tracker. Its users are very happy: “It’s comforting to look at the app and know everyone is where they are supposed to be!” and “The ability to pull out my phone and instantly monitor my son’s location, takes child safety to a whole new level.” In case you were wondering, it is ‘School Ready’ with a silent mode for educational settings.

Then there is ‘The Canary Project’ which focuses on American teens with a driver’s license. If your child is calling somebody, texting or tweeting behind the wheel, you will be instantly notified. You will also get a notification if your child is speeding or is outside the agreed-on territory.

If your child is ignoring your calls and doesn’t reply to your texts, you can use the ‘Ignore no more’ app. It will lock your child’s phone until they call you back. This clearly shows that most surveillance is about control. Control is the reason why we take pleasure in surveilling ourselves more and more.

I won’t go into the ‘Quantified Self’ movement and our tendency to put an endless amount of sensors on our body attempting to get “self knowlegde through numbers”. As we have already taken the next step towards control: algorithmic punishment if we don’t stick to our promises or reach our own goals."

"Normally his self-measured productivity would average around 40%, but with Kara next to him, his productiviy shot upward to 98%. So what do you do with that lesson? You create a wristband that shocks you whenever you fail to keep to your own plan. The wristband integrates well, of course, with other apps in your “productivity ecosystem”."

"On Kickstarter the makers of the ‘Blink’ camera tried to crowdfund 200.000 dollars for their invention. They received over one millions dollars instead. The camera is completely wireless, has a battery that lasts a year and streams HD video straight to your phone."

"I would love to speak about the problems of gentrification in San Francisco, or about a culture where nobody thinks you are crazy when you utter the sentence “Don’t touch me, I’ll fucking sue you” or about the fact this Google Glass user apparently wasn’t ashamed enough about this interaction to not post this video online. But I am going to talk about two other things: the first-person perspective and the illusionary symmetry of the Google Glass.

First the perspective from which this video was filmed. When I saw the video for the first time I was completely fascinated by her own hand which can be seen a few times and at some point flips the bird."

"The American Civil Liberties Union (also known as the ACLU) released a report late last year listing the advantages and disadvantages of bodycams. The privacy concerns of the people who will be filmed voluntarily or involuntarily and of the police officers themselves (remember Ai Weiwei’s guards who were continually watched) are weighed against the impact bodycams might have in combatting arbitrary police violence."

"A short while ago I noticed that you didn’t have to type in book texts anymore when filling in a reCAPTCHA. Nowadays you type in house numbers helping Google, without them asking you, to further digitize the physical world."

"This is the implicit view on humanity that the the big tech monopolies have: an extremely cheap source of labour which can be brought to a high level of productivity through the smart use of machines. To really understand how this works we need to take a short detour to the gambling machines in Las Vegas."

"Taleb has written one of the most important books of this century. It is called ‘Anti-fragile: Things That Gain from Disorder’ and it explores how you should act in a world that is becoming increasingly volatile. According to him, we have allowed efficiency thinking to optimize our world to such an extent that we have lost the flexibility and slack that is necessary for dealing with failure. This is why we can no longer handle any form of risk.

Paradoxically this leads to more repression and a less safe environment. Taleb illustrates this with an analogy about a child which is raised by its parents in a completely sterile environment having a perfect life without any hard times. That child will likely grow up with many allergies and will not be able to navigate the real world.

We need failure to be able to learn, we need inefficiency to be able to recover from mistakes, we have to take risks to make progress and so it is imperative to find a way to celebrate imperfection.

We can only keep some form of true freedom if we manage to do that. If we don’t, we will become cogs in the machines. I want to finish with a quote from Ai Weiwei:
“Freedom is a pretty strange thing. Once you’ve experienced it, it remains in your heart, and no one can take it away. Then, as an individual, you can be more powerful than a whole country.”
aiweiwei  surveillance  privacy  china  hansdezwart  2014  google  maps  mapping  freedom  quantification  tracking  technology  disney  disneyland  bigdog  police  lawenforcement  magicbands  pets  monitoring  pettracker  parenting  teens  youth  mobile  phones  cellphones  amberalert  canaryproject  autonomy  ignorenomore  craiglist  productivity  pavlok  pavlov  garyshteyngart  grindr  inder  bangwithfriends  daveeggers  transparency  thecircle  literature  books  dystopia  lifelogging  blink  narrative  flone  drones  quadcopters  cameras  kevinkelly  davidbrin  googleglass  sarahslocum  aclu  ferguson  michaelbrown  bodycams  cctv  captcha  recaptcha  labor  sousveillance  robots  humans  capitalism  natashadowschüll  design  facebook  amazon  addiction  nassimtaleb  repression  safety  society  howwelearn  learning  imperfection  humanism  disorder  control  power  efficiency  inefficiency  gambling  lasvegas  doom  quantifiedself  measurement  canon  children 
january 2015 by robertogreco
Hawk vs. Drone! (Hawk Attacks Quadcopter) - YouTube
"On Oct 8th, I was flying my quadcopter at Magazine Beach Park in Cambridge, MA when a hawk decided he wasn't too happy with my invasion of his airspace..."

[previously: ]
birds  nature  quadcopters  drones  animals  hawks  cameras  2014  video 
january 2015 by robertogreco
Angry ram takes down a drone... and its owner - YouTube
"I was looking for the angry ram with my fpv quadcopter, I got a bit close & he managed to hit it knocking it into a bush, luckily no harm done. When I went to retrieve the drone he followed me, I had my hands full so he got me pretty good."
drones  animals  cameras  quadcopters  rams  sheep  2014  nature 
january 2015 by robertogreco
Drone vs Kangaroo - YouTube
"Watch the moment a drone and a kangaroo got up close!"
drones  animals  nature  quadcopters  cameras  2014  kangaroos 
january 2015 by robertogreco
Living the GoPro Life
"GoPro, like Google Glass, has the insidious effect of making the pervasiveness of cameras seem playful and benign when it may one day be anything but. The Economist called the film-everything culture “the people’s panopticon”—the suggestion being that with all these nifty devices we might be unwittingly erecting a vast prison of self-administered surveillance."
gopro  photography  cameras  2014  culture  pov  pointofview  video  viral 
september 2014 by robertogreco
petcam snaps the world through the eyes of four-legged friends
"if you’ve ever wondered what the world looks like through the eyes of your four-legged friend, american photographer chris keeney has amassed a series of snapshots taken from curious creatures’ own point of view. the ‘petcam’ book is collection of images from all over the world, captured by a chihuahua, a manx cat, a red angus cow and a tiny abyssinian guinea pig — just to name a few. using a small, lightweight digital camera attached to the animal’s collar — and set to take photos at predetermined intervals — the pet becomes the photographer, and their wild adventures are documented from an unparalleled perspective."

[See also: ]
cameras  pets  animals  petcam  2014  via:anne  books  chriskeeney 
september 2014 by robertogreco
Pics or It Didn't Happen: The New Crisis of Connected Cameras - The Atlantic
"Networked lenses have, in short, marvelous potential. But cameras that are everywhere and connected to everything else have graver consequences, too—consequences we’re just beginning to suss out.

And I think it’s this, the import and ethics of networked lenses, that we’re wrestling with in story after story. Networked images are simply different than the products of film cameras. They’re easier to edit and slipperier to steal. Networked pictures get away from you, via black hat Torrenting, social media drag-and-dropping, or illicit iCloud downloading.

And even if not every lens in every story is truly networked, we’re still talking about the same technological advances. The smartphone camera is part of a global proliferation of photography, generally. The cheap sensor in your flip phone and the cheap sensor in your surveillance camera are, if not twins, then cousins.

Networked lenses require further serious thinking, but here are some questions that to me seem particularly unresolved. We only have the beginning of provisional propositions here, and analogies that we’re struggling to extend and apply, but here are some key questions.

What should you watch? This summer alone, it hasn’t been hard to find digital images or video of Ray Rice punching Janay Palmer unconscious; of masked ISIS militants executing not only James Foley but also Steven Sotloff; of St. Louis Police shooting and killing mentally ill Kajieme Powell; of Michael Brown’s lifeless body; and of the bodies of Malaysian Airlines Flight 17 victims.

In each of those cases, I have seen exhortations not to watch the video, not to look at the images.

Sometimes these appeals are argued from a place of respect. “The intent of the ISIS video is to strip James Foley of his humanity, to turn him into a symbol,” writes Margaret Eby. “We can pay tribute to him best by refusing to participate in the twisted one-act play, this allegory that his killers have scripted for us.”

Sometimes this respect becomes a call for consent: Did Jamay Palmer permit the video of her abuse to become public? If not (and it sure seems not), then the average viewer shouldn’t see it.

And sometimes these entreaties are paired with an appeal to the viewer’s mental health. Not only should you abstain from watching a video because it’s disrespectful to the victim, but you should also avoid it because it’s bad for you. Watch too many of these—watch even just one—and you will be worn down, made a little less hopeful. Yes, it’s your duty to know about the monstrosities committed by humans, but you risk losing something vibrant in yourself if you watch a document of every new one.

I’ve seen all of these arguments sketched by different readers—but I’ve seen all of them contested, too.

How should the media treat the products of networked lenses? In 2002, Wall Street Journal reporter Daniel Pearl was kidnapped and executed. Film of the murder was uploaded online, but, as Eby writes, that was “before the reign of social media, when images and videos did not automatically embed in your timelines, unbidden.” (The Internet as a whole was just much slower then too, and video content more time-consuming to obtain and download.)

Still, some journalists made the video available. “This is the the single most gruesome, horrible, despicable, and horrifying thing I've ever seen,” wrote Stephen Mindich, the publisher of alt-weekly the Boston Phoenix, before he linked to the video.

This year, New York tabloids placed images from the beginning of the Foley video on their front-cover. Even The New York Times embedded a still. Should they have? Just yesterday, The Intercept’s Peter Maass argued that he thought more Americans should watch the execution videos in their entirety.

And this goes beyond snuff films, too: Should the media show images of Michael Brown’s body? Should it screen-cap Ray Rice punching Janay Palmer? Should it embed Instagrams of Flight 17 victims?

If not, should it give readers a way to access these videos? Or are we unwise to ask these questions: Perhaps films like these should always be handled case-by-case. Yesterday, a roommate of mine said he thought images from the Foley video should be shown, but not any that depicted the murder weapon.

What do the product of networked lenses do, once you add them to a situation? We know something about the violence the American press should and shouldn't depict—there have long been rules, however loose, about those sorts of things. But we know less about how to handle and assess the consequences of showing, or not showing, those images when they’re available elsewhere. Are we preparing to bomb ISIS because of the horror of the images of the Foley and Sotloff murders? Should the press account for that somehow?

Or return again to the NFL’s suspension of Ray Rice. Though it was public knowledge that Rice knocked his girlfriend unconscious, he was only suspended two games for it. But he received an indefinite suspension once TMZ released video of the incident. Why is that—because everyone could see his violence now? Because the assault was shown to be as bad as it was?

What may different kinds of people do with a networked lens? What should they do? I’m thinking of two different events here, both since July.

The first: Black protesters in Ferguson were barred by cops of taking pictures of arrests. The First Amendment protects citizens’ right to film cops.

The second: Recent security breaches have allowed users to steal photos from various female celebrities, a tranche which included nude pictures they had taken of themselves. On Twitter, New York Times columnist Nick Bilton tossed off:

"Put together a list of tips for celebs after latest leaks: 1. Don't take nude selfies 2. Don't take nude selfies 3. Don't take nude selfies"

— Nick Bilton (@nickbilton) September 1, 2014

This struck me (and many others) as almost victim-blaming: Shouldn’t the real injunction be, don’t steal other people’s property and don’t sexually harass anyone? Who are we to tell women what they can or cannot do with their phones and networked cameras?

Yet with the state of online security as dismal as it is, maybe Bilton’s tweet constitutes good advice. We shouldn’t bar anyone from doing anything with their camera, but until we improve cultural consideration of and respect for women, maybe we can say, affirmatively but respectfully, that taking nude selfies constitutes a certain kind of potentially worthwhile risk.

What underlies both of these incidents might be obvious: Existing oppressions, whether misogyny, racism, or otherwise, practically limits how networked lens can be used. Yet this must inform how we consider the products and circumstances of any Internet-connected camera.

And above all these questions, there’s an ultimate one: What happens when you change a camera into a networked lens?

And: What happens when you add a networked lens to a situation?

Who gains power: the people holding the camera or the people being filmed? (Some argue that cop bodycams would in fact empower the police. After all, who has time to review all that footage?) Whose behavior changes, and how much? What can we expect will happen to the images that result? (Will they disappear into a database forever? If so, what can be done to them there? How will that affect us?)

We don’t know the answer to these twinned questions—but we’re learning a little more every day.

This is not all to say every issue today is a networked lens issue. NSA surveillance as a whole isn’t, I think. But the agency’s mass-facial recognition is. Labor on the whole isn’t, but workplace surveillance is. Urban planning isn’t, but public security cameras deployed en masse are. Scope this all the way up and you have Google Earth.

At the close of his piece, Mod quotes Sontag: “While there appears to be nothing that photography can’t devour, whatever can’t be photographed becomes less important.” Mod spins that, riffing, “Whatever can’t be networked becomes less important.” And whatever is networked can send us to war."
2014  robinsonmeyer  cameras  mobile  phones  photography  web  internet  culture  networkedculture  craigmod  behavior  ethics 
september 2014 by robertogreco
Badru’s Story: Early Warnings From Inside an Impenetrable African Forest by : Yale Environment 360
"Each year Badru Mugerwa sets 60 camera traps in Bwindi Impenetrable National Park in Uganda to monitor life in one of Africa’s most diverse forests, home to roughly half the world’s mountain gorillas. As site manager for the TEAM Network, a global web of field stations, Badru collects images and data that serve as an early warning system for the loss of biodiversity and the impact of climate change in tropical forests.

In this six-minute video, winner of the 2014 Yale Environment 360 Video Contest, Benjamin Drummond and Sara Joy Steele document the researchers' work in Bwindi's remote, mountainous landscape. For the filmmakers, just preventing their equipment from snagging on the dense understory while trying to keep up with Badru and his colleagues posed a serious challenge. But their efforts were rewarded with remarkable camera-trap images of the park's primates, elephants, giant anteaters, and leopards – striking evidence of what is at stake in Bwindi and the world's tropical forests.

As a Ugandan wildlife manager tells Drummond and Steele, “This is the only forest on earth where you find gorillas and chimpanzees feeding together. Where shall we get it again?”"

[Video here: ]
cameras  forests  uganda  africa  badrumugerwa  nature  biodiversity  benjamindrummond  sarajoysteele  tropics  climatechange  bwindi2014  animals  wildlife  elephants  gorillas  anteaters  macaques  leopards  primates  cameratraps  science  vegetation  teamnetwork  itfc 
september 2014 by robertogreco
Here, Ansel! Sit, Avedon! -
"It was in 2007 that Juergen Perthold, an engineer living in Anderson, S.C., strapped a tiny camera of his own design to the collar of his cat, Mr. Lee. When the images Mr. Lee captured while roaming around their neighborhood were posted online, they went, predictably, viral. Mr. Lee received a flurry of attention from the international media and became the star of a documentary, “CatCam: The Movie,” which made the film festival rounds in 2012 and even won a few awards.

Mr. Perthold has since refined his tiny camera, which was designed to record video or still photographs at programmable intervals, and has sold nearly 5,000 to pet owners in 35 countries, many of whom send their images back to Mr. Perthold, who displays them on his website. For Mr. Lee is not the only pet photographer, and his CatCam is not the only pet-oriented photographic device.

Last week, GoPro, a camera company made famous by surfers and other athletes who clip on its waterproof miniature Heros to record their adventures, introduced its own version: Fetch, a harness and camera mount designed for dogs. For years, pet owners had been rigging Heros to attach to their pets; perhaps you’ve seen the YouTube video of that surfing pig? (GoPro, a 10-year-old company that enjoyed a stunning I.P.O. in June, couldn’t say how many Heros have been used “off-label” in this way, but it did share its 2013 revenue: $985 million, up from $150,000 a decade ago. And GoPro’s spokesman was quick to remind this reporter that last year Americans spent nearly $60 billion on their pets.)

As programmable digital cameras get smaller and cheaper, the universe of pet, uh, journalism — or is it fine art? — has exploded. Scientists on both sides of the Atlantic have been using these technologies to learn more about the habits of all manner of animals, including house cats. The work of Leo, a cat from Yellowknife, Northwest Territories, has been made into a poster. Cooper, from Seattle, has had a gallery show of his work, which has also been collected into a book. A collaborative (what else to call them?) of Swiss cows posts their oeuvre at

Inevitably, copyright disputes have arisen over who exactly owns the images taken by nonhumans. As The Washington Post and others reported last month, David Slater, a British photographer whose camera was snatched up and passed around by macaque monkeys while he was in Indonesia in 2011, has been sparring with various media outlets, including Wikimedia, over their use of the winsome “selfie” one monkey shot with Mr. Slater’s camera."
animals  photography  gopro  pets  cats  dogs  pigs  cows  monkeys  2014  intellectualproperty  copyright  wikimedia  petcams  cameras  chriskeeney  juergenperthold  tortoises  georgejacobs  art  tonycenicola  catcam  vivianmaier  jamescoleman  dianaoswald  jamesdanziger  markcohen  paulfusco  streetphotography  alanwilson 
september 2014 by robertogreco
Here Is a Ram Headbutting a Drone | Motherboard
"First an alligator. Then some coyotes. Now, a ram. Another day, another animal getting hot pissed over a drone flying too close for comfort.

Small-fry drones, of course, are revolutionizing the way we see, study, and conserve the animal kingdom, even if the very act of flying a drone still hovers in legal gray areas in many parts of the world. We've seen everything from anti-poaching conservation drones in Kenya to whale-monitoring drones off the California coast offer unprecedented access and views of animals—and what's threatening them.

Drones let us get close to animals. But then, it's the allure of getting closer, ever closer to wildlife that can tempt a drone operator over the line. Suddenly, observation looks more like harassment."

[Direct link to video: ]

[See also: ]
animals  drones  droneproject  cameras  2014  quadcopters  video  sheep  rams 
september 2014 by robertogreco
REMUS SharkCam: The hunter and the hunted on Vimeo
"In 2013, a team from the Woods Hole Oceanographic Institution took a specially equipped REMUS "SharkCam" underwater vehicle to Guadalupe Island in Mexico to film great white sharks in the wild. They captured more than they bargained for."


"When the Woods Hole Oceanographic Institution team took their REMUS “SharkCam” underwater vehicle — equipped with six camera views — to Mexico’s Guadalupe Island, they expected to track and film great white sharks for scientific study. They had no idea that they would get the first recorded close-ups of predatory behavior by sharks in the wild." ]
sharks  video  animals  oceans  ocean  2014  cameras 
september 2014 by robertogreco
Screenshots as POV — The Message — Medium
"Screenshots are a sister to the POV footage that is taking over YouTube and Vimeo. Generally filmed with GoPro or Google Glass, the point of view of the image-maker is much more pronounced than with still photographs — you can tell how tall someone is, or if they tripped while walking. There’s a reason why that demo footage always features action-intensive activities like extreme sports and roller coaster rides. But most of us aren’t on hot air balloons or skydiving at this very moment. If you want to see what I see right now, let me take a screenshot."

"You could print a flipbook of your web activity that goes on infinitely. Like old GoPro footage of an afternoon cycling, these screenshot images bring you back to where you were looking at that minute."
joannemcneil  screenshots  2014  pov  photography  screens  gopro  cameras 
september 2014 by robertogreco
Hyperlapse from Instagram on the App Store on iTunes
"Create amazing time lapse videos with Hyperlapse. Using Instagram’s in-house stabilization, Hyperlapse shoots polished time lapse videos that were previously impossible without bulky tripods and expensive equipment."
instagram  ios  iphone  cameras  hyperlapse  stabilization  video  ios7  applications 
august 2014 by robertogreco
Horizon - Horizontal Video Photo Recorder with 2K Resolution, Slow Motion, Filters, Sharing, Tilt to Zoom on the App Store on iTunes
"Horizon lets you record horizontal videos and photos no matter how you hold your device. Hold it upright, sideways or even keep rotating it while capturing, your captured moment will always stay horizontal! You can add filters, shoot with the back or front camera and share your creations!

Ever felt you had to rotate your device while recording a video? Do you often end up with vertical videos or videos in wrong orientation? Enter Horizon!

Horizon works like magic! It auto-levels your photos and videos while recording, using your device’s gyroscope. The resulting orientation is corrected so that it always stays parallel to the ground.

With Horizon you can help bring an end to the Vertical Videos Syndrome. Yes, you can now record horizontal videos, while holding your device in portrait mode!"
ios  ios7  cameras  photography  applications  video  verticalvideo  portraitvideo 
august 2014 by robertogreco
From A to B
"What happens when you send something by mail? What happens in between you sending it off and someone else receiving it? What people and processes are involved and how many steps does it take?
Those all were questions I was dealing with and wanted to find out. So instead of sitting back I started a simple project to actually see it myself. I put a small camera in a box, build a timer circuit using Arduino and shipped it.
That's as simple as it is. The timer circuit was set to make a 3 sec video every minute and make longer videos while the box was moving: to not miss on the 'interesting' parts."
shipping  systems  systemsthinking  timelapse  arduino  2014  cameras  mail  packages  distribution  via:alexismadrigal  rubenvandervleuten 
july 2014 by robertogreco
Petcube – Interactive wireless pet camera. Smart monitor for your cat or dog.
"Check on your furry loved ones when out of home
Play with your pet using a safe built-in laser toy
Save your pet from obesity with daily exercise
Share access to your petcube and play with other shared pets
Make friends. Discover cuteness."
pets  hardware  technology  surveillance  play  dogs  cats  cameras  animals 
june 2014 by robertogreco
Deep Belief by Jetpac - teach your phone to recognize any object on the App Store on iTunes
"Teach your iPhone to see! Teach it to recognize any object using the Jetpac Deep Belief framework running on the phone.

See the future - this is the latest in Object Recognition technology, on a phone for the first time.

The app helps you to teach the phone to recognize an object by taking a short video of that object, and then teach it what is not the object, by taking a short video of everything around, except that object. Then you can scan your surroundings with your phone camera, and it will detect when you are pointing at the object which you taught it to recognize.

We trained our Deep Belief Convoluted Neural Network on a million photos, and like a brain, it learned concepts of textures, shapes and patterns, and combining those to recognize objects. It includes an easily-trainable top layer so you can recognize the objects that you are interested in.

If you want to build custom object recognition into your own iOS app, you can download our Deep Belief SDK framework. It's an implementation of the Krizhevsky convolutional neural network architecture for object recognition in images, running in under 300ms on an iPhone 5S, and available under an open BSD License."

[via: petewarden ]

[See also: ]
applications  ios  ios7  iphone  ipad  objects  objectrecognition  identification  objectidentification  mobile  phones  2014  learning  deepbelief  petewarden  ai  artificialintelligence  cameras  computervision  commonplace  deeplearning 
june 2014 by robertogreco
The Fire Phone at the farmers market — The Message — Medium
"With the exception of a few paintings, all of Amazon’s demo “items” were commercial products: things with ISBNs, bar codes, and/or spectral signatures. Things with price tags.

We did not see the Fire Phone recognize a eucalyptus tree.

There is reason to suspect the Fire Phone cannot identify a goldfinch.

And I do not think the Fire Phone can tell me which of these “items” is kale.

This last one is the most troubling, because a system that greets a bag of frozen vegetables with a bar code like an old friend but draws a blank on a basket of fresh greens at the farmers market—that’s not just technical. That’s political.

But here’s the thing: The kale is coming.

There’s an iPhone app called Deep Belief, a tech demo from programmer Pete Warden. It’s free."

"If Amazon’s Fire Phone could tell kale from Swiss chard, if it could recognize trees and birds, I think its polarity would flip entirely, and it would become a powerful ally of humanistic values. As it stands, Firefly adds itself to the forces expanding the commercial sphere, encroaching on public space, insisting that anything interesting must have a price tag. But of course, that’s Amazon: They’re in The Goldfinch detection business, not the goldfinch detection business.

If we ever do get a Firefly for all the things without price tags, we’ll probably get it from Google, a company that’s already working hard on computer vision optimized for public space. It’s lovely to imagine one of Google’s self-driving cars roaming around, looking everywhere at once, diligently noting street signs and stop lights… and noting also the trees standing alongside those streets and the birds perched alongside those lights.

Lovely, but not likely.

Maybe the National Park Service needs to get good at this.

At this point, the really deeply humanistic critics are thinking: “Give me a break. You need an app for this? Buy a bird book. Learn the names of trees.” Okay, fine. But, you know what? I have passed so much flora and fauna in my journeys around this fecund neighborhood of mine and wondered: What is that? If I had a humanistic Firefly to tell me, I’d know their names by now."
amazon  technology  robinsloan  objects  objectrecognition  identification  objectidentification  firefly  mobile  phones  2014  jeffbezos  consumption  learning  deepbelief  petewarden  ai  artificialintelligence  cameras  computervision  commonplace  deeplearning 
june 2014 by robertogreco
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