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20 Février 2021
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. 10 posts published by unrealnature during August 2009. August 31, 2009. A blinding flash, a visionary impulse of delight.
Unreal Beauty
©2008 Craig Ashby
Digital Photograph
Unreal Beauty looks touched. Yet again, it looks Photoshopped. But that is why the title is Unreal Beauty.
This is just the shot with no flash or filter. Just street lights illuminating the natural wear and tear of a gorgeous dumpster. Lovely textures abound.
The variations in yellow are equally wonderful. Yellow oranges to yellow greens in the shadows. The darker bits of rust reading as deep orange. It is a good color palette that is begging for exploration.
This week I have to research sampling of color palettes in Photoshop. How to extract and properly create the palette. How to pare them down to a useful amount.
There must be a plug in that could handle the work. More things for the never ending To Do list. Always more things to do.
| Unreal Engine | |
|---|---|
| Kehittäjä | Epic Games |
| Tiedot | |
| Ohjelmistotyyppi | pelimoottori |
| Alusta | monialustainen |
| Lisenssi | omisteinen lisenssi |
| Aiheesta muualla | |
| Kotisivu | |
Unreal Engine on pelimoottori, jonka on kehittänyt Epic GamesUnreal-tietokonepeliä varten vuonna 1998. Pelimoottorista on julkaistu neljä versiota: Unreal Engine, Unreal Engine 2, Unreal Engine 3 ja Unreal Engine 4. Pelimoottori on käytettävissä Windows-, OS X-, Linux-, PlayStation 4-, Xbox One-, Adobe Flash-, Android-, iOS-, ja Nintendo Switch -alustoilla. Tämän lisäksi Unreal Engine toimii myös joillakin vanhemmilla konsolipohjaisilla alustoilla (esimerkiksi Sega Dreamcast). Pelimoottorin muokkain toimii Windows-, OS X- ja Linux-alustoilla.
Unreal Engine sisältää tuen UnrealScript-komentosarjakielelle, jota käytetään moottorin lähdekoodissa ja pelin sisäisten tapahtumien luomisessa. UnrealScript muistuttaa C, C++ ja Java -ohjelmointikieliä.
| Virallinen sarja |
|
|---|---|
| Unreal Tournament | |
| Unreal Championship | |
| Teknologia |
| ||||||||||||||
[I'm still on super-slow dial-up. Yesterday, for some mysterious reason, the phone lines cleared up and I had decent dial-up connection speeds all day (30-40 Kbps). Unreal engine 4 2018. But all the phone noise is back this morning — crackling and popping and disconnecting my from whatever pitifully slow connection I can get. I am so depressed … ]
JV: … The language we use to refer to reality, which is necessarily mediated through this instrument, always interests me a lot, because it constantly generates the possibility of putting something in doubt. It's what motivates me most, to open a crack in something that seems sealed — that act of constant prying. This is what I recognize as my 'perspective.' In the beginning, you come to it intuitively, but later, to the extent that a project progresses, it mutates into a clear direction.
Today's post is more from the book, Conversations with Contemporary Photographers, by Umbrage Editions (2005). This features Javier Vallhonrat (interviewee — JV) and Santiago Olmo (interviewer SO). Translation is by Brendan Kolbay:
SO: Already in the beginning of your work an interrogation appears related to style. You then move on to critique it, dismantle it, or elevate it. you pause to analyze the tools and language of photography.
JV: Yes, the analytical aspect (almost like a scientific project) started after 1990. Before that you could see my overwhelming need to question my identity as an individual and as a photographer and through this point of tension, to define what my place is. I progressed, discovering simultaneously, almost accidentally. The consequence of undertaking this project, was in a certain way, a definition, and I ended up being the most surprised by it. In every way, the beginning of a series always implies a clarification of the territory one is approaching, more or less accurately. There is a prior conceptualization, perhaps greater than what comes after the project — which allows you to redefine your conclusions. For me, a series allows me to wonder at, among other things, how images, through their materialization, define something that didn't exist before. They allow me to retrace my steps and say, 'From this moment, what has this process done for me?'
SO: Of course, from this moment you are aware of the development of a process of personal formation and maturation, or is it simply formation? Unreal tournament 2020. Multimedia hard disk.
JV: This is the whole project. From the moment one speaks and expresses oneself, one is defining — and is defined — in a precarious and provisional way, but without a doubt, it leaves footprints. They don't echo so much one's initial decisions, but are a consequence of their existence. Things, in being made, delimit a territory that later obliges us to identify and 'unidentify' ourselves, and this distancing is also a project in itself.
SO: Decisions are made which open doors to what you are talking about, to new projects and series?
JV: Of course. With respect to style, which you mentioned, it's a question I ask myself to the extent that the series materializes and produces changes. Perhaps there might be a formal coherence relative to each series, but there's also an element of chance in abandoning a set of constants from one series to another, precisely because I don't have the need to understand the style as if it were a precise identification. More than anything, it's occurred to me that the photographic project — because of characteristics such as its relation to reality or its mechanical condition — puts into doubt questions linked to the moment in which I was born and to the beginning of the post-industrial era. … It's inevitable that one needs to test for oneself what it means to question the value of communication, of language, of words, and what is the space that we concede to relativize the principles that govern the appearances of tools like photography or cinema. In other words, to question the value of narrative, description, certification, and of so many things that we consider the foundation of the reality in which we live.
[ … ]
JV: … photography allows us to situate ourselves in an intermediate point — between the purely quotidian and the instrumental. That is, it can be conceived as an instrument of persuasion in a society of consumption … But at the same time, it allows us to act with a radically opposite intention: such as the drive to use the artistic project in order to make possible the experience of constructing the self. It's situated between these two points of view — the purely banal and its utilization from personal commitment.
SO: Between the instrumental and the near-transcendent.
JV: In some way. It works powerfully for both. By its own characteristics, it offers a marvelous possibility of absolutely reversing this legitimating character and showing what has been achieved by one of the most enduring trends in photography in the last twenty years. It is precisely its effective use in that reconstructive process that allows one to transform . . .
SO: . . . Truth?
JV: The idea of truth — something so important. And by extension, the very concept of reality. By being a legitimatizing instrument, it ends up becoming a delegitimizing tool of the strategies that permit us to base ideas on truth or reality. As such, between banality and transcendence, between what can be confirmed as a true version of reality and its opposite, photography exists. And how can one not be fascinated by an instrument that has this power?
-Julie
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