วันพฤหัสบดีที่ 24 ธันวาคม พ.ศ. 2552

Virtual Reality Photography









.....
Virtual reality VR panoramas from all the world.
Panoramas.dk is created by Hans Nyberg a commercial photographer in Denmark
My intention with this site is to make immersive panoramic images also called VR Photography more known among the general public.
Interactive panoramas is a young media and as such it has for many years been known among entusiastic photographers and multimedia creators. An interactive VR panorama can not be seen in a book or on a printed image. If you print the panorama it gets a completely different expression.
Se examples here
You can only experience the feeling of being at the place and look around, on a computer. You can only distribute Vr Panoramas by the Internet or on CD.
With new fast internet connections Virtual Reality Panoramas has a large advantage in the tourist industri and in many other areas.
As a documentary of cultural heritage VR Photography is an excellent media which within a much smaller download than videos can give you a full view of a church or an ancient temple.
No other media can give you the feeling of being at the place like VR photos. And the ultimate feeling comes when you view it in Fullscreen

http://ivrpa.org/
http://www.panoramas.dk/

วันจันทร์ที่ 21 ธันวาคม พ.ศ. 2552

The photography reader โดย Liz Wells

The photography reader โดย Liz Wells

The Photography Reader is a comprehensive introduction to theories of photography; its production; and its uses and effects. Including articles by photographers from Edward Weston to Jo Spence, as well as key thinkers like Roland Barthes, Victor Burgin and Susan Sontag, the essays trace the development of ideas about photography. Each themed section features an editor's introduction setting ideas and debates in their historical and theoretical context.Sections include: Reflections on Photography; Photographic Seeing; Coding and Rhetoric; Photography and the Postmodern; Photo-digital; Documentary and Photojournalism; The Photographic Gaze; Image and Identity; Institutions and Contexts.

Photography: a critical introduction โดย Liz Wells
Photography: A Critical Introductionretains its position as the first introductory textbook to examine the key debates in photographic theory and place them in their social and political contexts. It thus uniquely integrates photographic theory with photographic history and critically engages with debates about the nature of photographic seeing. This completely revised and updated third edition retains the thematic structure and text features of previous editions but also expands coverage on photojournalism and digital imaging. It will be essential reading for those interested in photography, graphics, fine art, art and design history, journalism, media studies, communication and cultural studies. Especially designed to be accessible and user-friendly, it includes: · Key concepts, short biographies of major thinkers and seminal references · Updated international and contemporary case studies and examples · A full glossary of terms and a comprehensivebibliography · Resource information, including guides to public archives and useful websites Lavishly illustrated with 100 black and white photographs and 16 pages of color plates, it includes images from Bill Brandt, Susan Derges, Rineke Dijkstra, Lee Friedlander, Fran Herbello, Hannah Höch, Dorothea Lange, Lee Miller, Martin Parr, Ingrid Pollard, Jacob Riis, Alexander Rodchenko, Sebastiao Salgado, Andres Serrano.

The photograph โดย Graham Clarke

How do we read a photograph? In this rich and fascinating work, Graham Clarke gives a clear and incisive account of the photograph's historical development, and elucidates the insights of the most engaging thinkers on the subject, such as Roland Barthes and Susan Sontag. From the first misty "heliograph" taken by Joseph Nicephore Niepce in 1826 to the classic compositions of Cartier-Bresson and Alfred Steiglitz and the striking postmodern strategies of Robert Mapplethorpe, Clarke provides a groundbreaking examination of photography's main subject areas--landscape, the city, portraiture, the body, and reportage--as well as a detailed analysis of exemplary images in terms of their cultural and ideological contexts. With over 130 illustrations, The Photograph offers a series of discussions of major themes and genres providing an up-to-date introduction to the history of photography and creating a record of the most dazzling, penetrating, and pervasive images of our time.

e-book now










download e-book DPWORLD click http://emagazine.dpnet.com.cn/emagazine/0907/

วันอาทิตย์ที่ 20 ธันวาคม พ.ศ. 2552

Dylan Collard












These ads for the “Society of Cardiology of the Russian Federation” were shot by Dylan Collard.












Photos by Dylan Collard. Raised in Holmfirth, West Yorkshire, both of his parents were illustrators working from home and Dylan spent his youth surrounded by imagery, airbrushes, enlargers and printing ink.

Dylan’s photographs resemble cinematic scenes, without alluding to a distinct semantic context: the compositions raise questions rather than provide explicit information. Looking at the scenes Dylan creates, a viewer will intuitively engage in the process of questioning and constructing narratives as the ambivalent, mysterious and often eerie atmosphere of his images trigger inspiration. He captures dehumanised spaces, void and sterile, which he refurnishes with a certain, vibrantly melancholic and surreal air. Here some of his commissions works for VNOK, Leap Music, Adidas, Channel Five and many more.

http://www.popchili.com/2009/05/06/dylan-collard/
http://hellofrancis.blogspot.com/2008/11/dylan-collard.html

http://www.dylancollard.com/

http://open-eye-photography.blogspot.com/2008_06_01_archive.html
http://2fotoz.blogspot.com/2009/04/creative-photography-by-dylan-collard.html

วันพฤหัสบดีที่ 17 ธันวาคม พ.ศ. 2552

การสื่อสารมีผลต่อการสร้างอัตมโนภาพ

เก็บมาเล่า เอามาฝาก นักศึกษาปี 4 สำหรับผู้หลงทาง สับสน เพื่อประโยชน์และความสุขต่องานศิลป์นิพนธ์

การมองตัวเอง self-concept หรืออัตมโนภาพสัมพันธ์กับการสื่อสารอย่างมาก การที่เราจะตีความคำชมของผู้อื่นว่าเขาจริงใจหรือประชดหรือป้อยอก็ขึ้นอยู่กับว่าเรามองตัวเองอย่างไร คนที่มองตัวเองในทางลบจึงมักจะตีความการสื่อสารทั้งคำพูดและการกระทำของคนอื่นไปในทางลบบ่อยกว่าคนที่รู้สึกดีกับตัวเอง คนที่มีเพื่อนที่คอยแต่จะคิดว่าเราพูดถึงหรือว่าเขาในทางไม่ดีอยู่เสมอ คงจะนึกภาพออกว่าต้องเหนื่อยใจกับการคอยระมัดระวังคำพูดและการกระทำกับเพื่อนคนนี้ไปเสียทุกอย่างเพียงไร คนขี้รำคาญก็อาจเลิกคบไปเลย แต่ขอให้เข้าใจเถิดว่ามันเป็นเพราะเพื่อนคนนั้นไม่เห็นคุณค่าของตัวเอง จึงไม่คิดว่าคนอื่นจะรู้สึกว่าเขามีค่าพอที่จะชื่นชมและมองตัวเขาไปในทางดีๆ ได้
.....
ทักษะที่ต้องใช้ในการเปลี่ยนภาพตัวเองนั้นเป็นสิ่งที่เรียนรู้ได้ แต่ต้องมีความคาดหวังที่เป็นจริงด้วย อย่าคาดหวังสูงหรือต่ำเกินไป ถ้าต่ำเกินไป พัฒนาการของเราก็จะเป็นไปอย่างเชื่องช้ากว่าที่ควร แต่ถ้าหวังสูงหรือเร็วเกินไป ก็จะเสียกำลังใจที่ไปไม่ถึงฝั่งฝันสักที คนที่ประสบความสำเร็จในการเปลี่ยนแปลงตัวเองจึงมักเรียนรู้ที่จะค่อยๆ เพิ่มความคาดหวังให้กับตัวเองทีละน้อยแต่สม่ำเสมอ ที่สำคัญ เราควรจะตัดสินการเปลี่ยนแปลงที่เกิดขึ้นจากพัฒนาการของตัวเองมากกว่าจะโดยการเปรียบเทียบกับผู้อื่น
.....
และระหว่างที่ยังเปลี่ยนไม่ได้ดังใจนั้น ก็อยากจะขอยกคำพูดของ Frederic Amiel ว่า Dare to be what you are And learn to resign… with a good grace… To all that you are not, And to believe In your own individuality. จงกล้าที่จะเป็นอย่างที่เป็นอยู่ และเรียนรู้ที่จะถอยออกมา –อย่างสง่างาม- จากสิ่งที่คุณไม่ได้เป็นจริงๆ และจงเชื่อมั่นในความเป็นคนที่ไม่เหมือนใครของคุณ
จากบทความของ อู่ทอง ประศาสน์วินิจฉัย
.....

วันเสาร์ที่ 12 ธันวาคม พ.ศ. 2552

360 VR Panoramic Virtual














360VR Images produces exceptional high-quality panoramic images for use in print and panoramic virtual tour production.These are 360 degree panoramic images captured using rotational cameras with spherical fisheye lenses.

Our award winning 360VR images are full 360 degree spherical panoramic images used in building photographic "Virtual Reality" style virtual tours. You can interactively "be there and look around" with the full realism that expert digital photography capture offers.

http://360vr.com/TS-NYE2009/Nivea-stage/krp/


http://360vr.com/
http://360vr.com/jook/
http://360vr.com/TS-NYE2009/Nivea-stage/krp/
http://www.panoramas.dk/panorama/
http://www.vr360.in/#
http://www.vrmag.org/

วันพุธที่ 9 ธันวาคม พ.ศ. 2552

อาลัยยิ่งอาจารย์สุธีร์ ธนรัช รองคณบดีฯ คณะศิลปะและการออกแบบ มหาวิทยาลัยรังสิต

ขอแสดงความเสียใจและอาลัยยิ่งต่อการจากไปอย่างกระทันหัน ของอาจารย์สุธีร์ ธนรัช รองคณบดีฝ่ายกิจการนักศึกษา และอาจารย์ประจำสาขาคอมพิวเตอร์อาร์ต คณะศิลปะและการออกแบบ มหาวิทยาลัยรังสิต ขณะปฎิบัติหน้าที่ ณ ห้องประชุมคณะศิลปะและการออกแบบ เมื่อวันพุธที่ 9 ธันวาคม 2552

พิธีรดน้ำศพ และสวดอภิธรรมศพ ณ ศาลา 1 วัดพระศรีมหาธาตุ บางเขน กรุงเทพมหานคร วันศุกร์ที่ 11 ธันวาคม 2552


- สวดอภิธรรมศพวันที่ 11-13 ธันวาคม 2552 เวลา 18.30 น.
- ฌาปนกิจศพ วันจันทร์ที่ 14 ธันวาคม 2552 เวลา 17.00 น.

ศิษย์เก่าวิทยาลัยช่างศิลป์ กรมศิลปากร คณะมัณฑนศิลป์ มหาวิทยาลัยศิลปากร ตลอดจน คณาจารย์ เจ้าหน้าที่ ศิษย์เก่า ศิษย์ปัจจุบัน คณะศิลปกรรม คณะศิลปะและการออกแบบ มหาวิทยาลัยรังสิต ร่วมงานโดยพร้อมเพรียง

วันอังคารที่ 1 ธันวาคม พ.ศ. 2552

Melvin Sokolsky Inspirational Photographs

Melvin Sokolsky (born in 1933) is an American photographer and film director.

Born in New York City, Sokolsky had no formal training in photography, but started to use his father's box camera at about the age of ten. Always analytical, he started to realize the role that emulsion played as he compared his own photographs with those his father had kept in albums through the years. "I could never make my photographs of Butch the dog look like the pearly finish of my father's prints, and it was then that I realized the importance of the emulsion of the day.

Around 1954, Sokolsky met Robert Denning, who at the time worked with photographer Edgar de Evia, at an East Side gym. "I discovered that Edgar was paid $4000 for a Jell-O ad, and the idea of escaping from my tenement dwelling became an incredible dream and inspiration

Though he is best known for his editorial fashion photographs for publications such as Harper's Bazaar (for which he produced, in 1963, the "Bubble" series of photographs depicting fashion models "floating" in giant clear plastic bubbles suspended in midair above the River Seine in Paris), Vogue,[2] and The New York Times. Sokolsky's work is not limited to that field.
...
Three quarters of his print photography has been for advertising which does not usually carry a byline. As Sokolsky said in an interview: "I resented the attitude that 'This is editorial and this is advertising'. I always felt, why dilute it? Why not always go for the full shot?"Toward the end of the 1960s, Sokolsky worked as both commercial director and cameraman.
...
He did not, however, abandon the world of print photography; in 1972 he was asked to photograph the entire editorial content of McCall's Magazine, a first for any photographer.
...
History
Melvin Sokolsky was born and raised in Manhattan's Lower East Side during the lean years of the pre-war era. Here he witnessed the entire spectrum of the human condition played out across a tough and tight-knit community. This experience was countered by a universe of visual riches found in the museums and books he regularly devoured. Melvin spent his days framing and logging precise mental and emotional images long before he had a camera to capture them. At age ten he began taking pictures using a box camera, though he was frustrated by his inability to create prints that had the "nice pearly finish" of his father’s old photos. "It was then that I realized the importance of the emulsion of the day," he recalls. Never satisfied, always questioning, and fiercely creative, young Melvin Sokolsky began to live from one private epiphany to the next.
With no formal training, his
photographic education came purely from instinct, desire, and careful observation. Upon learning that photographers could make $4000 for "shooting a box of Jell-O," Sokolsky was seized by visions of a previously unimaginable career path. "The idea of escaping from my tenement dwelling and living by my creative inspirations became a powerful motivator," he notes. He took up an all-consuming regimen of photographic experimentation with a singular focus and determination that have since become his trademark process.
...
At twenty-one these efforts paid off when he was invited to join the photo staff of Harper's Bazaar by Henry Wolf, the magazine's visionary art director. Though he was learning on his feet, Sokolsky was rebellious by nature and would couple his street smarts with his deeply vivid imagination to challenge the aesthetic conventions of the advertising and editorial worlds. He was friendly but equally competitive with fellow star-photographers of his day, Art Kane and Richard Avedon. This tension contributed greatly to what is now considered the golden age of the American magazine.
The work that put Sokolsky on the map was his 1963 Bubble series in which impeccably dressed models float dreamily over urban land and waterscapes. "I’d have to credit Hieronymus Bosch for those images," he notes, "if you look at his painting The Garden of Earthly Delights you will come across a nude couple in a bubble. That image stayed with me from childhood." This and other wildly inspired fashion editorials caught the eye of many advertising creatives, and soon he was shooting much more than Jell-O. The Digital Journalist states that he was the most successful advertising photographer of the 1960s.
...
As most advertising work goes uncredited, Sokolsky became known primarily for his groundbreaking editorial work and celebrity portraiture. Drawing upon his fascination with Surrealist art (and encouraged to do so by a visit to his studio from Salvador Dalí), Sokolsky was fearless in upending all notions of scale, proportion, visual rationality, and the laws of physics. Not one to be pinned down to a single style, he was equally comfortable shooting elegant, minimal studies against white backdrops. Regardless of context, Sokolsky’s work always pops and provokes. "Really, I'm only interested in photography as a tool for exploring and visualizing psychological and emotional conditions," he says.
In the 1970s Sokolsky expanded his visual repertoire to film and, fittingly, he moved to Los Angeles. He became a prolific shooter of striking television commercials that bore all the innovation and grammar of his photographic work. He has continued to shoot fashion photography and other editorial assignments, and his work has moved towards an increasingly cinematic style. Sokolsky thinks in big questions that inspire a visceral visual narrative. One hopes that he will bring this skill to the big screen in the form of a feature film, for yet another chapter in his creative evolution.

Melvin Sokolsky is one of the great pioneers in the creation of visual imagery. Admired, awarded, and relentlessly copied, he remains steadfastly ahead of the curve and thoroughly ignited in his seventies. His legacy cemented, Sokolsky is left with a seemingly limitless well of creative energy. One senses several more pages of trailblazing accomplishments being added to this bio.

วันอังคารที่ 24 พฤศจิกายน พ.ศ. 2552

Loneliness inspiration Thesis by Tanapat Wiwatmongkonchai

แรงบันดาลสำหรับส้ม เป็นงานศิลปนิพนธ์ ปี 2552 ของนศ.ประยุกต์ศิลป์ ม.ราชภัฏธนบุรี เรื่อง เหงา ลองคุยกับ Pat เจ้าตัวดูครับ
Contact






















วันจันทร์ที่ 23 พฤศจิกายน พ.ศ. 2552

Ponoramic photography













Panoramic photography is the usual choice of photogs who want to give their pictures a wider frame. However, there are several ways to define panoramic photography. The methods used to create panoramas range from the simple piecing together of overlapping prints to wide-angle cameras to sophisticated computerized 360-degree virtual reality (VR) photos, and everywhere in between.












Special cameras make panoramic shots simpler for the photographer than methods like segmented panoramic or full rotation panoramic photography. Fred Yake uses a variety of cameras to produce his stunning panoramic shots all around the world. These wide-angle photos appear to have been produced with the use of a fixed-lens or wide-field camera. This type of camera allows the photographer to take advantage of a wide frame, capturing more of the subject without the difficulties of taking multiple shots.

Photographs like these by London photographer Will Pearson are a great example of the unique perspective that can be gained with the use of fisheye lenses and some special software. These images turn mundane landscape photographs into absolutely amazing one-of-a-kind works of art.













http://weburbanist.com/2008/10/02/5-epic-panoramic-and-360-degree-photographers-and-photos/
http://www.willpearson.co.uk/

http://www.webdesignerdepot.com/2009/06/50-dazzling-examples-of-polar-panorama-photography/

http://www.dirkpaessler.com/blog/index.php/photographers-tools/2006/09/06/tutorial-create-your-own-planets/


LOOKING AT ARIF ASCI'S ISTANBUL PANORAMAS

A city is a long walk through moments of pause and movement. In the work of Arif Asci, the city becomes a photograph in which movement is transformed into pause, and pause into the pregnancy of motion. In this stillness, the photograph toys with the movie camera, revealing surfaces of action and projection throughout the activities of everyday life. Whereas in a film, images lie side by side, in this film of the city, curtains of fabric, of fog, of smoke, of a reflective window-pane, of water, of walls are layered one past the other as we walk through them. Asci captures surfaces as curtains which, although often set up in order to divide the public from the private, like a woman's veil, instead reveal through the shadowplay of the everyday. Just like the first public showings of films in Turkish coffee houses, projected onto the screens of traditional Karagoz shadow plays, these screenings of shadows point to the boundary between the physicality of photography and film and its revelation of hidden narrative worlds. Shadows become performers who project private experiences in public. In the process of this projection, everyday activities - shopping at the market, riding a boat, playing by the shore, drinking tea - become part of the epic of human experience.

Like shadows themselves, weaving through the interstices of the city, street-vendors, children and animals unselfconsciously perform the loneliness in the crowd which has characterized the modern city since Baudelaire wandered through Paris in the mid-nineteenth century. But in contrast to the commercial images glimpsed on billboards and busses which aspire to a Western identity, this is no Paris with its regular boulevards for the see-and-be-seen promenade, nor do we wish it to become one. Asci instead reveals a city which outgrows any attempts at planning, in which concrete cracks and crowds make unlikely daily homes for themselves without any intention of making an impression, without any consciousness of the impression they make on the camera. The city surrounded by water becomes a city with the solidity of water.


Since the nineteenth century, this complex waterfront of multiple shores - of Europe and Asia against the Sea of Marmara, the Black Sea, the straight which joins them, called the Bosporus, and the riverine port which joins it, known as the Golden Horn - has offered photographers a long series of panoramas through which to create the image of the exotic city, minarets pointing delicately to the sky. This panorama, however, is the view from outside. Like a veil, it points to what is hidden without showing it; it shows only to promise revelation without actually granting entry to the city. These photographs by Asci use the elongated format of the panorama to turn this common view of the city inside-out. Walking within its streets, meeting its inhabitants, caught in the web of their movements, we no longer exoticize the city as an impenetrable castle surrounded by a moat, but instead, along with the photographer, we respect its mystery, a never-ending series of curtains, unknowable as the most intimate belove.

Dr. Wendy M.K. ShawAssociate Professor,Faculty of Communications,Bahcesehir University, IstanbulCuratorial Associate,Istanbul Museum of Modern Art

http://www.arifasci.com/gallery_panorama.html
http://www.arifasci.com/istanbulcolour_gallery.html

วันอาทิตย์ที่ 22 พฤศจิกายน พ.ศ. 2552

Mirror Reflection of Woman Outdoors


Name: jessica harp, Current StudentSchool: The Art Institute of PhiladelphiaArea of study: PhotographyMedia: PhotographArt Institutes class: -->Created on: 06/17/2009Tags: The Art Institutes

Subject of this work: About this work:
Our photography students have talent and focus on composition. They take a shot at a great and exciting future in photography, bring the world around them into clearer view, and develop an interview-ready portfolio.