фотография на территории видеоигр
ВСЕ ВЫПУСКИ
Скриншот с экрана монитора уже давно проник на территорию фотографии - это и работы Рафмана, Рикарда, Хеннера (Вольф не в счёт, потому что всё-таки переснимает экран), рикардовские же скриншоты из анонимных видео с youtube (роскошная серия), бессчетное число проектов c веб-камерами и многое другое разной степени убедительности. Надо сказать, чего авторы фотографы пока опасаются, и правильно делают, так это заходить на территорию видеоигр. Получается несильно убедительно, но посмотреть можно. Ещё интереснее подумать почему оно так.
Fernando Pereira Gomes - PROCEDURAL GENERATION
"Procedural Generation is a series of images taken in the digital city of Los Santos within the video game Grand Theft Auto V. Released in September, 2013, GTA V gave players the ability to take pictures inside its fictional world.
Given the game's high level of detail and realism, I began treating the virtual streets as those in real life. The experience felt eerily real. Yet the characters in these images, are no more than lines of code employed to heighten the realism of the game. However, they seem to be aware of the fact that their existence relies on being within the photographer's field of vision. Due to the procedural generation used in the game, when the photographer turns a corner, his subject vanishes. These photographs depict an alienated, lonely, brief existence.
The culture industry exists to keep us preoccupied with things other than our trodden lives. Still, it becomes evident that this entertainment is an authentic representation of our realities, and reflects its melancholy. As stated by Baudrillard, the "simulation threatens the difference between the true and the false, and the real and imaginary." In Procedural Generation, I use this new medium to push against the far edge of the Real, while questioning its stability."
http://fpgomes.com/procedural-generation-2014
Sylvain Entressangle - Video Game Landscape
"When the action-adventure game Mafia II was released in 2010, the gaming environment of Empire Bay was considered a complete and coherent universe describing a US city during the 40s and 50s. Upon observing that the field of view of the game generally corresponds to a camera with a 30mm and 45mm lens, Sylvain figured that it would be perfect for photojournalistic shooting. Empire bay, the fictional amalgamation of the US cities of New York, Detroit, Boston, Los Angeles and Chicago, is the location where Sylvain “shot” all of these images while playing mafia II. The artist elaborates: “As a photographer, I found that the virtual material was very rich. And I wanted to have the opportunity to photograph it”.
Each shot actually involved taking a screenshot of the cityscapes. The photographer downloaded several game modification programs in order to hide his avatar and improve the textures of the CGI to make them more naturalistic.
To render these shoots as life-like as possible, he made his avatar’s height the same as his own; “I wanted to experience the same problems I have when shooting in a real city” explains Sylvain, “when I photograph Paris, where I live, I could spend several hours walking around and taking photographs”. His experience in Empire Bay was not too different; in total Sylvain spent 5-6 months roaming the virtual streets, trying to capture the feel and atmosphere of the city, during which time he took around 10,000 images, finally setting the best 100." (отсюда)
http://www.betweenstrap.com/landscape-video-game
Скриншот с экрана монитора уже давно проник на территорию фотографии - это и работы Рафмана, Рикарда, Хеннера (Вольф не в счёт, потому что всё-таки переснимает экран), рикардовские же скриншоты из анонимных видео с youtube (роскошная серия), бессчетное число проектов c веб-камерами и многое другое разной степени убедительности. Надо сказать, чего авторы фотографы пока опасаются, и правильно делают, так это заходить на территорию видеоигр. Получается несильно убедительно, но посмотреть можно. Ещё интереснее подумать почему оно так.
Fernando Pereira Gomes - PROCEDURAL GENERATION
"Procedural Generation is a series of images taken in the digital city of Los Santos within the video game Grand Theft Auto V. Released in September, 2013, GTA V gave players the ability to take pictures inside its fictional world.
Given the game's high level of detail and realism, I began treating the virtual streets as those in real life. The experience felt eerily real. Yet the characters in these images, are no more than lines of code employed to heighten the realism of the game. However, they seem to be aware of the fact that their existence relies on being within the photographer's field of vision. Due to the procedural generation used in the game, when the photographer turns a corner, his subject vanishes. These photographs depict an alienated, lonely, brief existence.
The culture industry exists to keep us preoccupied with things other than our trodden lives. Still, it becomes evident that this entertainment is an authentic representation of our realities, and reflects its melancholy. As stated by Baudrillard, the "simulation threatens the difference between the true and the false, and the real and imaginary." In Procedural Generation, I use this new medium to push against the far edge of the Real, while questioning its stability."
http://fpgomes.com/procedural-generation-2014
Sylvain Entressangle - Video Game Landscape
"When the action-adventure game Mafia II was released in 2010, the gaming environment of Empire Bay was considered a complete and coherent universe describing a US city during the 40s and 50s. Upon observing that the field of view of the game generally corresponds to a camera with a 30mm and 45mm lens, Sylvain figured that it would be perfect for photojournalistic shooting. Empire bay, the fictional amalgamation of the US cities of New York, Detroit, Boston, Los Angeles and Chicago, is the location where Sylvain “shot” all of these images while playing mafia II. The artist elaborates: “As a photographer, I found that the virtual material was very rich. And I wanted to have the opportunity to photograph it”.
Each shot actually involved taking a screenshot of the cityscapes. The photographer downloaded several game modification programs in order to hide his avatar and improve the textures of the CGI to make them more naturalistic.
To render these shoots as life-like as possible, he made his avatar’s height the same as his own; “I wanted to experience the same problems I have when shooting in a real city” explains Sylvain, “when I photograph Paris, where I live, I could spend several hours walking around and taking photographs”. His experience in Empire Bay was not too different; in total Sylvain spent 5-6 months roaming the virtual streets, trying to capture the feel and atmosphere of the city, during which time he took around 10,000 images, finally setting the best 100." (отсюда)
http://www.betweenstrap.com/landscape-video-game