Time-lapse macro photography and animation of the life and death of an insect (1.3 millimetre) at magnification ratio of up to 3:1. The lens, a 120 mm Rodenstock 120mm f5.6 APO Macro Sironar Digital was badly damage in a flood but has been restored by Rodenstock and is truly performing at is best. 6,000 shots were made that day for 4K UHD film editing. The large number of photographs provided ample material for animation. This includes the gassing, the balancing act and dying motions of the beast of Waddesdon.
Buckinghamshire panoramas at the Rose and Thistle, Haddenham
The photographic panoramas exhibited in the The Rose and Thistle restaurant originate from a stock of Buckinghamshire panoramas made in 2012/13 by FOTO-INFO.
When confined to a photographic studio and restricted to carry small object only (2005-2009)
PHOTO-FLOWERS library endeavours to enhance the photographic representation of flowers using an in house developed method to overcome the restrictions of macro-photography lenses. It aims to increase the perception of the depth dimension through an optical recording process bringing all parts of a subject in focus, from front to back. Great consideration is given to the lighting of subjects in order to raise the feel of texture and the understanding of the floral subject. This method creates large photographic files up to 150 million pixels (no interpolation) and even larger for composition of floral scenes, thus allowing extra-large print sizes with UHD definition.
The scenic views of Haddenham, Buckinghamshire, were made of 9 or 12 shots with a VR Pan Head and photographs were stitched together with “align” and “blend” tools in Photoshop. With a precise record of point of view and camera settings and with identical light situation I am able to return to the scene and re-shoot a particular angle of that scene, until the photograph is free of cars for instance.
Photographic reproduction of paintings
The killing factor
Within the large variables of light conditions in which a painting is created, a world of questions emerges as to how this art piece should be recorded (photographed), printed or exhibited. Realistic colour retention is of course a crucial process of truthful and accurate rendering although it is impossible to reconstitute environmental lighting conditions in which that piece was created. But thinking about the artist’s environmental situation, the illumination will have had a significant role during the creation, and one aspect of light is totally ignored when we conventionally photograph a painting for reproduction or exhibit an original - shadow! Photography is perhaps losing an opportunity to close the gap between the artist vision and ours. (more)
My first experience with building an internet site (1998) came during the final process of patent submission of Global Vision to the UK Patent Office. I was eager to demonstrate and promote the global photographic format and learnt Macromedia Dreamweaver and Flash (now Adobe). With great pressure and with little technical awareness I had to convey a message and use the impact of internet graphics just born.
This concept of photographic recording and browsing of a seamless full environment on the computer received a patent in 2002.
Walking in the old town of Aylesbury, Buckinghamshire.
Photographs are generally made of 9 shots (Aylesbury church 20!) and edited with a panorama editor (PT GUI, panorama tool graphical user interface) involving a process creating true perspectives.
At the height of the cold war, another war was high in the news with a conflict between two men with huge egoes: Bernie Ecclestone (GB, FOCA) and Jean-Marie Balestre (FR, FISA). It was only a petrol head conflict but the political war ravaging in the Formula One community was well covered by the press and the winner of the arm wrestling between FISA and FOCA would shape F1 as we know it today. (more)
Test footage of the Canon 6D in cinema mode using a mix of lenses (Canon, Hasselblad, Rodenstock). Yes, a photographic camera recording film in HD (1920 x 1080 pix) is a reality and it is impossible not to be impressed, particularly filming in low light environment (4000 ISO in the example!). But the test highlights the problems associated with DSLR camera (moiré, aliasing), in some circumstances giving a distinctive jaggy effect or mosaic pattern. Camera settings, soft lenses or some software can help to partially solve the problem but I'll use the camera for photography only. photographic camera test footage
When news press photographs were scarce during the Arab spring revolt I downloaded from social network telephone pictures of the insurgency and looked for a means of regenerating the images. With the smudge tool in Photoshop, a brush setting liquefied the coloured pixels with an effect of brush stroke, each stroke generating a canvas of whatever resolution needed.
It’s not a push button technique, it needs to be brushed all over, but an hour of electronic strokes recreated an image. Better than a telephone photograph? Here the resolution of the painting is infinite but with a damaged credibility factor.
My friends, old fashioned painters, hate my painted news!
Then, testing brush settings, the project has drift, using internet press photographs. It’s only for the fun and no copyright was paid. Painted News
Visual identification or Instant Remote Visual Identification (VID-IRVID) was a computer application in development aimed at creating photographic scenes over large field of view without distortion.
With the first Pentium processor's laptops the possibility was to process and assemble large arrays of photographs on the go which could be delivered in near real time for environmental assessment.
But more to the point, it was basic algorithm to create video images covering 360 by 180 degrees and enabling a user to browse an entire environment in real time.
archives - F1 Sébastien Buemi, Toro Rosso (hungarian GP 31 Jul 2011)
A day in Formula 1 that Sébastian will not forget
I followed the 2011 Formula One season with particular interest when a sponsor of Sébastien, Aimé Pouly, ask me to create internet pages to report on the Swiss driver. When I met Sébastien on 14th December in Milton Keynes during simulator work at Red Bull headquarters, he was confident that he would retain his F1 seat for 2012. The next morning, a contrasting reality had hit the news. The two Toro Rosso drivers, Buemi and and Jaime Alguersuari, were given the boot. Nevertheless, Buemi retained a foot in the Red Bull organisation for testing duties and as a reserve driver.
