1:5 scale study model

Parametric furniture

Anzalone and Tiazzoldi studio

Fall 2008

GSAPP

Last year, I discovered Holga. She's an inexpensive, clunky camera made almost entirely of plastic. It's the not-so-great design that makes it great. Each camera has light leaks and slight distortions that make each photo a little different. Holga photos takes with medium format 120 film that leave cool steaks and textures and dark spots or edges

While I love Holga, developing gets a little expensive. I usually send the rolls of film (you choose 12 or 16 photos a roll) to Dwayne's Photo. He's the cheapest. Just be careful when you buy film. If you want prints, make sure you don't buy slide film. That's where it gets super expensive. In Stockton, I think the only place to get 120 film developed at is Wolf Photo, by Chucky Cheese on Pacific.

Here are some photos from my first roll of film.

Le Sténoflex, Sténopé mini labo est une chambre noire portative, percée d'un trou, et dans laquelle est placé un papier photographique que l'on expose devant un sujet, un objet ou un paysage. Chaque Sténoflex, sténopé mini labo est livré avec un sachet de 5 feuilles de papier sensible, d'un sachet de révélateur en poudre, d'un sachet de fixateur en poudre, une feuille de film inactinique, pour travailler dans l'obscurité et d'une notice d'utilisation.

Fort bien. Petite illustration:

Très mignon. Joli objet, expérience sympathique, belle idée, etc. Mais voilà, il y a un infime détail qui me chiffonne légèrement, moi:

La mise en valeur du produit, sur le site et sous sa forme imprimée (cartel de présentation pour la boutique) passe par une définition de la "philosophie" de Sténoflex. Le titre de ce chapitre philosophique n'est rien de moins que "Un Art à part entière"! Parfaitement! Car sachez, mes très chers, que

"À l'ère du tout numérique, de tout contrôlable et du tout prévisible, le Sténoflex, Sténopé mini labo ouvre de nouvelles perspectives de création pour notre imaginaire. Non seulement, il permet de revivre toute la magie et la poésie des premiers temps de la photographie. Mais il donne aussi à chacun les moyens de faire d'un procédé technique, un art à part entière."

Remarquez, je ne devrais pas trouver ça excessivement schématique et idiot; une partie de mes photos de famille sont réalisées avec une Holga ou une Diana, qui ont pris la place de mon appareil polaroid sx70. Le Lomo, c'est tellement hype, évidemment.
Pas opposée aux dispositifs minimalistes, encore moins aux expérimentations les plus variées (voire avariées parfois). Mais la nuance subtile se situe ici: je ne suis ni photographe, ni artiste, et aucun appareil, aussi puissamment argentique qu'il soit, ne déterminera jamais la valeur artistique des mes images. Car c'est bien là l'aspect le plus vain et niais de cette mode (hypitude des dispositifs simples ou anciens). On va finir par prendre le simple fait d'acheter un rouleau de pellicule 120, noir-blanc de surcroît, ou de mettre les mains dans les produits pour une promotion esthétique, un certificat de qualité artistique. Peu importe ce qui viendra se fixer sur le film, tant que l'on conserve ce lien ombilical sacré qu'est l'indice dans son acceptation la plus ... argentique. L'image est magique, non contrôlable, non prévisible, au plus près de la nature profonde de la photographie, etc. etc.

Je me dis parfois que le simple fait d'expérimenter une chose (le sténopé, les photogrammes ou les 20km de Lausanne, par exemple) devrait être un plaisir suffisant. Qu'on pourrait même le trouver vivable sans cette illusion de carrière artistique s'ouvre soudain devant nous... mais bon, c'est tellement tendance tout ça...

fisheyeeeeeeee

After my uni day came to an end at 9pm, made my way to the J&S place. And then, wow I got a really unexpected gift from them: Peter Alexander PJs!    Thanks :) Really made my day and I know you are sick of my red penguin pjs haha.  

My fisheye lomo camera has only ever seen 1 full roll of film.  I should really hurry up and finish the 2nd roll.  Adding this to my list of to-dos in the holidays.  

Here's a crappy diagram to help explain the problem:

Exhibit A
shows the proper placement of said little red stick thingy.

Exhibit B shows the current location of the one in my tooth. (Proportions of red stick are not 100% accurate, for smartarses)

How the hell does that mistake occur?!

And so now I currently have a temporary filling in place and my tooth feels sore.

On a lighter note, I bought a duel pack of Polaroid 600 film today, ready for the Polaroid Impulse camera that should be arriving in the post soon.

I've also discovered this style of photography which is more or less exactly what I like to do, the downside is that they've managed to give it the feel of an obsessive cult, this is Lomography. Nice cheap little cameras for taking decent Polaroid-esque shots, with the availability of the more common and definitely cheaper 35mm film, hand in hand with what seems like a following of those artsy weird people. I am however going to purchase one of these cameras but ignore the following, otherwise I'll end up tattooing the 'Ten Golden Rules of Lomography' to my nether regions, by the way there really is ten golden rules, sadly enough I seem to have been abiding by these before I even knew they existed.

The 'proper' camera I will be using will be bought on Friday, and I've already put a deposit on a good old leather case for it.

Anyway, back to trying to get the last ten lines I need to write on my personal statement, for my UCAS application. The internal deadlines tomorrow, and right now it's half two in the morning. Lovely.

I've decided on these universities. Hopefully one will accept me.

• Birmingham City University
• Bournemouth University
• Edge Hill University
• The University of Gloucestershire
• The University of Salford
  

Alright, back to work.

Und trotzdem habe ich mir in Taipei, einem Rat meines Kollegen Jens folgend, so eine richtig altmodische Analogkamera gekauft. Die hat 45 Euro gekostet und noch nicht mal einen Sucher zum Durchgucken.

Ganz schön blöd? Nicht, wenn man sich anguckt, was der Kasten kann. Denn die Lomo Fisheye 2 hat einen riesigen Vorteil: eine fest eingebaute Fischauge-Weitwinkel-Linse mit 170 Grad Blickwinkel. Damit kann man schon fast um die Ecke fotografieren.

Dabei gilt: Abdrücken und aufs Beste hoffen. Kontrollieren, Optimieren, Aussortieren - geht alles nicht. Manche Bilder werden gar nix, andere schon. Die dazugehörige Stilrichtung nennt sich Lomographie und hat eine bewegte Geschichte - Wiener Studenten, russische Kameras und die frühen Neunziger spielen da eine Rolle.

Das runde Bildformat ist übrigens kein Gimmick, sondern notwendig, um auch alles auf den Film zu bannen, das die Linse einfängt.

Wer es noch nicht kennt: Hinten, das Große, das ist das Taipei 101.

Nächtlicher Straßenverkehr, aufgenommen vom fahrenden Scooter.

Solche Bilder sind möglich durch die "belichte, so lange Du den Knopf drückst"-Funktion der Kamera.

Dies ist nicht etwa das Kim-Il-Sung-Mausoleum in Nordkorea, sondern die Chiang-Kai-Shek-Gedächtnishalle in Taipeh.

Da lassen die Streitkräfte der Republik China auch gerne schon mal ihre Rekruten zum Exerzieren antreten.

Ah, Essen! Rindfleischnudelsuppe. Reis. Dumplings. Göttlich.

Gestatten: Mr. Charming, mein Lieblingsstofftier. Made in Japan, entdeckt in Taipeh.

Kollege Jens hat bereits eine sehr beeindruckende Taipeh-Lomo-Gallerie mit seinen Motiven ins Netz gestellt.

Die Lomo Fisheye 2 kann man übrigens auch in Deutschland kaufen, sie kostet hier offenbar um die 60 Euro. Also los!

只知道佢當初冇出口過本土?

2007年日本相機圖鑑的封面相機?

相片如何? 愛lomo的話, 不用多講吧, 他有名"toycam" 之王~

anawangin, zambales (march 2008) | generic plastic focus free 35mm camera | expired fuji sensia asa 100 | xpro |

| banol beach (coron, palawan) may 2008 | fuji astia asa 100 | lomo smena 8m | xpro |

anilao, batangas april2008 | snap snights! underwater camera | some cheap asa 200 color film (forgot, sorry) |

These photos were from last christmas' carnival affair with Bryan and Thea. It was pretty dizzying so after sampling the rides, we went and had coffee at Boni High Street to treat our stomachs.

But from the ferris wheel, some shots turned out pretty well. The roll I had using the ASA 200 turned out so-so, as Twiggy might call them, they were pretty "retro-chic" thanks to the low ASA.

Don't panic! The Figital Revolution is not going anywhere... However, if you've been wondering where you can see more examples of a wide range of artworks by your humble narrator and chief propaganda proponent,  then hey! www.stephenschaub.com is for you! Featuring  my hybrid artworks ranging from 2003 to present, as well as eloquent and insightful essays about the works by my cohort and frequent co-conspirator E.O. Schaub, info and links on our two pre-Figital books, RSS feeds from- of course- the Figital Revolution and a link to Figital Revolution on Flickr. What could be better?

AND, last but not least, I'd like to announce a special preview show of my most recent works A New Eden here in Vermont at our studio Indian Hill Imageworks on October 11th and 12th, 2008 from 4-6 pm each day.  For a full press release and additional show information please click here.

Viva la Revolution, and all that jazz- Stephen

La LOMO LC-A es una cámara analógica de fabricación rusa que causa furor en el mundo entero desde que dos estudiantes austríacos las pusieran de moda a raíz de un viaje a Praga en 1991. Las características especiales de estas cámaras han generado un curioso movimiento social. En 1991, dos amigos encontraron en un mercadillo varias cámaras compactas de la marca LOMO. Estas cámaras cuentan con unas características muy especiales basadas principalmente en su objetivo y distancia focal, que derivan en unas imágenes fuertemente saturadas y con un viñeteado alrededor, creando un efecto túnel. Estos dos amigos iniciaron un fenómeno llamado Lomografía, que con la frase “No pienses, dispara!”, hace que sus usuarios vayan por el mundo haciendo “fotos locas”, consiguiendo resultados poco controlables a priori por las bases de la fotografía. Los efectos de la cámara, combinados con encuadres o posiciones de disparo poco usuales, consiguen resultados completamente diferentes a los de la fotografía convencional, pero comunes a esta corriente.

En la web Lomography 3.0 encontraras interesantes ejemplos de esta estética tan particular.

Si no tienes la suerte de poseer una de estas viejas cámaras (se consiguen por u$s150-200 en eBay)te ofrezco un script para GIMP que te permitirá obtener resultados muy parecidos con tu cámara digital.

A continuación te dejo un instructivo de como instalarlo en Ubuntu 8.04 Hardy Heron que es la distribución Gnu/Linux que yo uso

Se llama GIMP Lomo Filter y para instalarlo solo es necesario descargarlo y copiarlo a la carpeta oculta ~/.gimp-2.4/scripts/

Para hacerlo mas sencillo y rápido te dejo las instrucciones para hacerlo por terminal:

wget http://crunchbang.org/misc/gimplomo.scm
mv gimplomo.scm ~/.gimp-2.4/scripts/

Luego solo tienes que abrir GIMP y al efecto lo aplicas desde el menú Filtros>Luces y Sombras>Lomo

Este es un ejemplo con una fotografía propia.

Con Efecto Lomo

Sin Efecto Lomo

Bueno espero que puedas darle este gran efecto a todas tus fotos, si lo logras mandame una por mail a ReyBajBlog@gmail.com y la pongo en Fotografías de Lectores.

Te Mando Saludos...

ReyBaj.

Via l Tuxinga!

/Tutorials/

Get into lomo with Photoshop

note on the same page the comment by Gary:

Here, here!

LOMOgraphy can't be emulated in Photoshop any more than film can be reproduced in Final Cut Pro.

Interesting take on it though.

needless to say.. I agree

However, there seem to be a massive listing of 'how-to' links that approach the same matter.
(try googling 'lomo effect')

Is that need to 'replicate' a lens effect just a way to make the digital medium more approachable, or just a sign of lack of funds ??

following Mikes comment - my own reply would be

Awww... ain't that sweet...

Those digital monkeys are trying to emulate good old analogue tech - how very post-modern/ironic/Zeitgeist.

I love Photoshop to bits, but if you want Lomo, buy Lomo and THEN stick
your shots through Photoshop. Cutting out the Lomo part is totally
defeating the point of Lomography, surely.

Is it just me, or did everything look brighter in the 80's?

The Lomo LC-A+

Specifications (from the Lomography site)

++ Size: 4.25" (10.5cm) x 2.5" (6cm) x 1.6" (4cm)

++ Weight: 0.65lb (0.3kg)

++ Format: all 35mm (colour negative, slide, b&w)

++ Lens: Minitar 1 32/2.8 (Multi coated)

++ Focal length: 32mm

++ Available apertures: 2.8, 4, 5.6, 8, 11, 16

++ Shutter speeds: 1/500 to unlimited (via auto-exposure)

++ Exposure: program automatic (selects aperture & shutter automatically)

++ Multiple Exposure switch for unlimited shots on 1 frame

++ Flash: standard hot shoe with second-curtain sync

++ Standard tripod & cable release thread

++ Film can be processed at any 35mm lab, supermarket, drug store, swapmeet, etc.

Despite the somewhat zany advertisement - the new-to-be soon-cult Lomo LC-A+ has these differences with it's former sibling:

• the ISO sensitivity has changed. Whilst the former model took into consideration film speeds from 25-400 ASA, this new version films from 100 up to 1600 ASA
• there is a new cable release thread on the shutter release to accommodate the needs of available light photography
• there is multiple exposure facility (MX)
• the aperture can no longer be preselected as with the previous version. Thus, the only available mode is 'A', or 'program automatic', where the camera selects the shutter speed and the aperture automatically with or without the flash attached.

Whilst the extended sensitivity and the cable release thread are more than welcome, the omitting of the aperture values seems to me that is limiting the uses the camera has when a flash is attached. The previous model allowed not only the automatic selection, but also the manual selection of the aperture when a flash is attached, providing the user with more options.

In the 'A' mode the camera's metering cell is metering the available light, determines the exposure and as soon as the light from the flash returns to the metering cell  the shutter closes. When pre-selecting an aperture, the shutter speed is always 1/60 effectively making the camera function as a completely manual camera. The flash exposure can be varied to suit by changing the aperture.

(Post showing examples of the 2 different flash techniques with the Lomo LC-A coming soon)

It must also be noted that the new Lomo LC-A+ now comes in two version - one boasting the already-cult russian lens, and the newer one featuring a chinese replica. The model with the russian lens is termed Lomo LC-A+ RL, whilst the one with the russian lens simply Lomo LC-A. Both versions are being manufactured in China, the difference being only the lens elements.

The Russian lens variant is listed on the Lomography Shop at 221.48 £ (standard package) and the Chinese lens at 197.75 £, a 23.73 £ difference.

Any user comments are welcome.

^This was my first shot I took. Too excited to shoot something, antam sja lah hehe

Besides my Diana F+, this is my second medium format camera. I'm still having trouble to get the right exposure and focus from these cameras! I'll try to improve on my next rolls.

Exciting and vibrant new color artworks by noted photographer and hybrid artist Stephen M. Schaub will be celebrated in an open house reception Columbus Day weekend- Saturday, October 11th and Sunday October 12th from 4 to 6 PM each day. Presented at the Indian Hill Imageworks in Pawlet Vermont, this reception is a unique opportunity to meet the artist and experience a nascent body of artworks never-before seen.

This event is free and open to the public; light refreshments will be served.

For more information please visit: stephenschaub.com

Here's my last "summery" shot. On with the falling leaves and whatnot.

E no princípio era a lomografia. O conceito, como movimento fotográfico, surgiu em 1991 quando dois jovens estudantes, em férias na Áustria, compraram, por apenas 8 dólares, uma câmera simples e barata para registrar o dia-a-dia da viagem. A câmera era a Lomo LC-A, produzida pela primeira vez no início dos anos 80, na União Soviética.

Baseado na Cosina-CX1, o Ministério da Indústria e da Defesa Soviéticos encomendou à empresa LOMO, em São Petersburgo, a confecção de uma câmera simples, pequena e robusta, que seria barata a ponto de se tornar popular. O objetivo era que essa câmera fosse usada para registrar o dia-a-dia soviético, como uma estratégia de fortificação da identidade do povo, e se tornasse um instrumento de propaganda daquele estilo de vida.

Mas as limitações técnicas da Lomo LC-A produziam imagens distorcidas, com deformações de cor e problemas de foco que comprometiam um conceito de qualidade mais conservador. Tais limitações despertaram o interesse de um público específico e se tornaram ferramenta para a reconstrução de um conceito estético, possibilitando, dessa forma, a recolocação dessas máquinas no mercado fotográfico.

Meu interesse por lomografia surgiu anos depois do surgimento da câmera. Não como fotógrafa, porque esse é mesmo um título que não me cabe. Mas como consumidora de imagens que sou, numa sociedade que vive por meio e para uma produção imagética em lutas crescentes por renovações.

O primeiro contato com as cores saturadas, a vinhetagem tresloucada, os arroubos de luz me deu a impressão de que a fotografia vivia um universo muito mais amplo do que os meus ideais bressonianos permitiam enxergar. Mais do que instante decisivo, ela podia subverter todas as minhas concepções tradicionais da relação com o tempo, com o presente, e com o espaço. E isso ficava claro naquela relação de cor e luz subversa, e nos temas ordinários que aquelas imagens buscavam retratar e transformar.

Eu me apaixonei pela lomo. Porque ela chacoalhava os meus conceitos de qualidade e, inclusive, a necessidade de ter conceitos de qualidade. Quando o mundo me parecia cada vez mais tendendo à automatização dos meios de expressão, a lomografia surge como movimento, fazendo o seu resgate da fotografia analógica para persistir na valorização do grão, mesmo que a tecnologia apresente novas alternativas numa velocidade vertiginosa. Uma forma de resistência orgânica num universo de automatismos homogeneizantes, pequenos gestos de humanidade.

this is exactly where we are now. in the middle of the storm, only difference is, this place is filled with people who are studying or at least pretending to study.

| long exposure / bulb mode | lomo fisheye2 | xpro | fuji sensia |

happy end of ramadan :)

Sorry for blinding you, stranger.

more fisheye?

I watch way too much South Park.

Today my mother asked me if I'm in a cult. I thought that was quite amusing.