I’ve have started to develop my ideas from Assignment 4, to explore how I can create pixelated images without filters. The images above have been produced from enlarging a photograph to 800% and then taking screen shots of areas which I think are of particular interest. I am wondering whether there is a way that I can taken sections of an enlarged image and then combining them to resemble the original.
At first glance, it is difficult to know which of the two images of Jesse Lingard is a photograph. Computer-generated images are so realistic nowadays, it is not surprising that this type of problem has arisen. If images can be created so accurately, they may come a time when cameras are no longer needed. Graphics are so realistic that there might not be a need in the future to send a photographer out, when the ideal image can be made on screen.
However, it does raise the issue of image rights when creating a representation of a person. Also, what are the responsibilities of the image creator once it is out in the public domain.
At one level, it could be argued that the collection of pixels are not real, and would not exist without the screen. However, by being placed within a game-based scenario, the character becomes life-like. As computer generated imagery becomes more prevalent, it will be interesting to see what responsibilities will need to be granted for creators and what rights there are for the sprites.
It wasn’t meant to end like this. On a freezing wet day at the end of August, I was photographing my son’s football team. I was using my Canon 7D, which I have been using since it was released way back in 2009. Despite the torrential rain, I was confident that my camera would cope due to its weather sealing - one of its selling points for sports photographers.
However, half way through the match it stopped working. When I uploaded the images from the memory card, the photo above was the last one. I must have accidentally pressed the shutter, whilst holding it. After uploading the images, I did try to use it again, but there was a loud pop and then not even the lcd would light up.
It was a significant moment for me, because I had bought this camera when I had started studying with the OCA 10 years ago. It has helped me through most of my modules, photographed weddings, birthdays, and Christmases. When I had first bought it, I would have expected my last image with it to have been something spectacular, not a blurry accidental shot of some grass!
Now, I need another camera! Or do I? Until my son had started playing football, I had rarely used my 7D. The telephoto zoom, and high number of frames per second, gave it a significant advantage. However, I tend to use my iPhone or point and shoot camera, due to their conveniently small size.
The above image has been taken from Paul Graham’s photo-book ‘Films’. At first glance the viewer could mistake it for some kind of on-screen digital interference. However, it is in fact created from photographic film. The abstract dots and blurred colours are a result of Graham zooming into the film. By doing so, he has created a new version of the image.
Daniel Rubinstein and Katrina Sluis (2013) base their two conceptions of the image on how photography is represented in two films: Titanic and Memento.
In the penultimate scene in Titanic, the photographs that appear beside Rose on her death-bed illustrate significant moments from her life, ordered chrologically after surviving the sinking of the Titanic. If a person's life could be retold in sentences, then the photographs would be the full stops, exclamation marks and question marks. They represent significant, memorable events which can be viewed and compared with each other, chronologically.
Meanwhile, Memento includes a series of polaroids, to help Leonard, an amnesia sufferer, identify his wife's killer. The photographs give Leonard 'points of access that allow movement from one temporality to another' Rubinstein and Sluis, 2013: 23). Instead of one chronological route through the photographs, there is a multiplicity of storylines.
Photo albums enable us to organise and catalogue photographic memories. If they are stored in a physical album, then they will usually be in chronological order. This enables the viewer to move forwards and backwards through time. Meanwhile, photographs which are stored digital are able to be accessed in a multimodal fashion. This can include clicking on links for different categories or typing in keywords to retrieve images with a corresponding tag. Furthermore, 'Timehop', on Facebook, pushes images taken in previous years. Distant memories are brought to the forefront of a person's thoughts.
Rubinstein and Sluis (2013) refer to photography as a 'two-faced Janus', because it points in two directions. Firstly, one side faces the 'real world' people, places and events, transforming them into a two dimensional object. Meanwhile, the other side faces the repetition and reproduction of those photographs.