Guys steal Credit Card, use it for Photo Booth-Pix
Jemand hat einer Dame die Kreditkarte geklaut und kam dann auf die glorreiche Idee, damit ein paar Fun-Fotos in einem Fotoautomaten zu schießen. Der Automat speicherte die Bilder auf einer Festplatte und lieferte den Cops so ein paar wunderbare Fahndungsfotos.
According to police, the victim reported that she had misplaced her plastic last week while shopping in Crofton, a town 25 miles south of Baltimore. The woman called cops after realizing that her card was used to fraudulently purchase tickets at a Regal Cinemas theater. A subsequent review of surveillance video revealed “a group of teenagers purchasing tickets from a movie ticket kiosk,” according to the Anne Arundel County Police Department.
The same teens also piled into a “photo booth located inside the theater lobby” and posed for a series of pictures. The adjacent images (click to enlarge), released today by cops, apparently were stored digitally on the booth’s computer hardware.
The Smoking Gun: Photo Booth Pix Could Sink Credit Card Fraudsters
Lowering The Bar: The Photo-Booth Idea Was Bad Enough to Begin With
Richard Mosses The Enclave: A Pink Congo-Documentary
Vimeo Direktpink, via Petapixel
Seit drei Jahren hat Richard Mosse den Kongo, die dortigen Konflikte und das allgegenwärtige Militär auf Kodak Aerochrome Infrarotfilm fotografiert, über die genauso fantastische wie surreale Bilderserie habe ich schon ein paar mal gebloggt. Jetzt hat er zur Biennale in Venedig eine halbstündige Doku in der gleichen Technik raus, gedreht auf „a discontinued military surveillance film, which registers an invisible spectrum of infrared light“: The Enclave. Zeitgleich erscheint ein (weiterer) Bildband zur Fotoserie/Doku unter dem gleichen Titel. Einzigartige und absolut großartige Arbeit.
Throughout 2012, Richard Mosse and his collaborators Trevor Tweeten and Ben Frost travelled in eastern Democratic Republic of Congo, infiltrating armed rebel groups in a war zone plagued by frequent ambushes, massacres and systematic sexual violence. The resulting installation, The Enclave, is the culmination of Mosse’s attempt to rethink war photography. It is a search for more adequate strategies to represent a forgotten African tragedy in which, according to the International Rescue Committee, at least 5.4 million people have died of war-related causes in eastern Congo since 1998.
A long-standing power vacuum in eastern Congo has resulted in a horrifying cycle of violence, a Hobbesian ‘state of war’, so brutal and complex that it resists communication, and goes unseen in the global consciousness. Mosse brings a discontinued military surveillance film to this situation, representing an intangible conflict with a medium that registers an invisible spectrum of infrared light, and was originally designed for camouflage detection. The resulting imagery, shot on 16mm infrared film by cinematographer Trevor Tweeten, renders the jungle war zone in a disorienting psychedelic palette. Ben Frost’s ambient audio composition, comprised entirely of recordings gathered in the field in eastern DRC, hovers bleakly over the unfolding tragedy.
Amazon-Partnerlinks:
Richard Mosse: The Enclave
Infra: Photographs by Richard Mosse
Vorher auf Nerdcore:
Richard Mosses Fotografie brennender Flugzeuge
Richard Mosses Flugzeugwrackfotografie
Fotografie von Saddams Palästen
Richard Mosses Pink Congo Photography
Richard Mosses Pink Congo Photography 2011
Recursive circulated Phone-Photo-Loop
Youtube Direktcircle, via Petapixel
Clevere Spielerei von Alexander Kolomietz. Man könnte damit auch eine Prima Chatroulette-Variante machen, wäre dann der Recursive iPhone-Photo-Circle Jerk. Mein’ ja nur.
On my birthday party I asked friends to form a circle and aim their phone cameras to the screen of the next person. In theory this should allow to see your back on your own screen. Practically it is impossible due to limited resolution of the cameras censors and LCD screens. To overcome these limitations I decided to use some image processing on the frames that I collected from all the participants of the experiment.
Computer Rooms of 8Bit-Wizards
Goto80 (hier auf Twitter) – der unter anderem zusammen mit Raquel Meyers auch das ganz hervorragende Tumblelog Text-Mode betreibt – hat mir ein Preview seines Computer Rooms-Buchs geschickt, ein Band voller Fotos von den Arbeitszimmern von 8Bit-Bastlern und Circuit-Bendern, den man hier für nichtmal ‘nen Zehner bestellen kann. Das Teil hatte sich vor ein paar Wochen bereits den Nika Award von den F.A.T.-Labs abgeholt. Sowas hätte ich jetzt gerne bitte mit den Computer-Zimmern von den Crackern und Tradern aus der 80er-Jahre-C64-Szene.
This is what computer culture really looks like. A collection of photos that show the messy reality behind the shiny online facade. Where we make our living and spend our free time. And try to be creative. Or even maybe worse.
Very few people get to see these spaces. It’s not the kind of place we take photos of, or show to visitors. Maybe we don’t even see it ourselves. It’s a sort of secluded area hidden in plain sight, full of secrets, now on this display in this book. This kind of places lead to political actions, fantastic music, art, new friends, inventions, love and so much more. This is IRL!
Bonustrack: Goto80s tolle Animation Dansa In, ein 44kB-Demo auf’m C64 für das UCLA Game Art Festival:
A story with pirates, sloths and sex told completely in text graphics and chipmusic. A blocky and brutal visual aesthetic synchronized with explosives, drunken funk and computer screams. All made in 44 kilobytes, to be executed by a Commodore 64 and its colourful ASCII-alternative called PETSCII. Shown at UCLA Game Art Festival, competed at the Datastorm demoparty and is available as C64 executable here.
Berliner Spätis bei Nacht
Großartige Fotoserie von Daniel Gregor, der seit ein paar Monaten durch Berlin zieht und Spätis bei Nacht fotografiert. Tolle Idee, schon ewig lange überfällig. (via Ronny)
Liu Bolin: The Invisible Man @ TED
Liu Bolin spricht auf der TED-Konferenz über seine Unsichtbarkeits-Bodypainting-Fotografie, man sieht eine Menge bekannter Artworks und ein paar, die zumindest mir neu sind. Der Shot im Fernsehstudio ist fantastisch! Hier haben sie noch ein (ziemlich kurzes) Interview mit ihm. Unten auf Captions klicken für englische Untertitel.
Can a person disappear in plain sight? That’s the question Liu Bolin’s remarkable work seems to ask. The Beijing-based artist is sometimes called “The Invisible Man” because in nearly all his art, Bolin is front and center — and completely unseen. He aims to draw attention to social and political issues by dissolving into the background.
Vorher auf Nerdcore:
Camo-Artist Liu Bolin hides in 9/11-Artifacts
Camo-Artist Liu Bolins Creative Process
Tour-Rider Food Photography
Henry Hargreaves hat sich die Tour-Rider einiger Musiker vorgenommen und die besten Food-Wünsche fotografiert. Das da oben ist übrigens nicht das Mittagessen von Lemmy, sondern das von Frank Sinatra: „One bottle each: Absolute, Jack Daniels, Chivas Regal, Courvoisier, Beefeater Gin, white wine, red wine. Twenty-four chilled jumbo shrimp, Life Savers, cough drops.“
I was inspired to create this series after reviewing a few riders from some of the biggest acts in the world, all of which were ridiculous. But what I found most interesting about them is that they offered a glimpse into their larger-than-life personalities.
I initially thought I would try and shoot all of the items listed on the catering riders but quickly realized that this would become an exercise in wasting money. So I decided to focus on the quirkiest requests and shoot them in a Flemish Baroque still-life style because I felt that there was a direct connection between the themes in these types of paintings and the riders: the idea of time passing and the ultimate mortality of a musician’s career as the limelight inevitably fades—they only have a short time in which they are able to make these demands and have them fulfilled.
HENRY HARGREAVES’S PHOTOS OF WHAT FAMOUS MUSICIANS EAT BACKSTAGE (via Macelodeon)
Filmroll-Photography from the Kinemathek-Archives in Berlin
Großartige Fotoserie von Reiner Riedler, der Zugang zum Filmarchiv der Deutschen Kinemathek erhielt und dort die Filmrollen knippste. Ich mag ja die „Fingerabdrücke“ der einzelnen Filmrollen sehr, die durch das Material, die Filmbilder selbst und die Laufzeit abgebildet werden. Sehr schön!
I got access to the film archive and museum „The Deutsche Kinemathek“ in Berlin through my friend Volkmar Ernst, who works there as a technician. I drew up a list of well-known films and those with unusual titles. I set up a little photostudio inside the cinema of the archive and backlit the film rolls by installing film lights behind the objects, lighting each roll in the same way for continuity. The result was a collection of images of a few hundred filmrolls.
Through the act of collecting and selecting the film rolls I noticed analogies between the colour and the shape of the rolls, and the content of the movies. Besides the nostalgic connotation concerning the movie itself, there is the nostalgia concerned with the loss of a tradition. This projcet also deals with this loss – „the dying of film“.
THE UNSEEN SEEN (Published with kind permission, thanx Reiner!)
Ex-Newsroom: Financial Times Deutschland
Kleiner Nachtrag zu den Newspaper Downfall-Fotos vor ein paar Tagen: Hier ein paar Fotos aus dem ehemaligen Newsroom der Financial Times Deutschland von Peter Raffelt: „Gestern haben die Kollegen der Gruner+Jahr IT begonnen, die Computer für die Einlagerung vorzubereiten. Hier ein paar aktuelle Fotografien aus dem ehemaligen Newsroom der Financial Times Deutschland.“
Newsroom (Danke Peter!)
Vorher auf Nerdcore:
Newspaper Downfall Photography
Is this a Headline? Is this just Fantasy? Printed on Paper, this is Newspaper-Hilarity…
Newspaper remade with Tangerines
Making Of a Newspaper, 1940
Dead Wood from Newspapers made into a Lamp
Dead Wood made from Paper
Newspaper Downfall-Photography
Großartige Fotoserie von Will Steacy über die schweren Zeiten des Philadelphia Inquirer, der 2009 Bankrott anmeldete und aus einem riesigen Zeitungs-Komplex namens Tower of Truth in ein einziges Stockwerk in einem Bürogebäude umziehen musste. Von Wired:
The extreme downsizing of the Philadelphia Inquirer is a stand-in for what we know has been happening to newspapers across the country for the last decade. Since its bankruptcy filing in 2009 it has moved from the 526,000-square-foot Tower of Truth to a single floor in an office building.
Photographer Will Steacy has been documenting these financially difficult years for the paper, giving a unique perspective on the national downsizing and closures that are easily dismissed as just numbers.
“I wanted to create a portrait that showed the reality,” says Steacy, whose father worked at the Inquirer for 29 years.
Philly Inquirer’s Hard Years Are Microcosm of Newspapers’ Long Goodbye
Stereö Peöple
Stereö Peöple: Hübsches neues Projekt von Jimmy Repeat und Mark Portillo aka Mr.GIF. Die beiden haben dem Creators Project übrigens neulich erklärt, wie man normale und stereoskopische GIFs macht.
Crash Site-Photography of abandoned Planes with Happy Endings
Dietmar Eckel fotografiert verrottende Flugzeuge an den Orten, an denen sie Notlanden mussten oder abstürzten – und aus denen alle Menschen gerettet wurden. Schönes Projekt, derzeit finanziert sich Eckel einen Fotoband über Indiegogo.
‘Happy End’ is a photo-project about miracles in aviation history – 15 airplanes that had forced landings but ALL on board survived and were rescued from the remote locations. The planes remain abandoned in nowhere since 10-70 years. […] This series is for me more than wrecks not worth to recover: it’s surreal – beautiful airplanes in vast landscapes with wonderful stories.
‘Happy End’ – a Photo-Book about Miracles in Aviation History (via Laughing Squid)
Glitchart: There’s an App for that…
Nettes Spielzeug von Vladimir Shreyder, sowas wie Instagram für Glitchart: „Glitché is a free iPhone application to distort your photos into works of digital art using several effects based on computer errors and bugs such as glitch, slitscan, datamosh and many others.“ (via Creative Applications)
Terror Suspect Lockdown Interieur-Study
Edmund Clark fotografiert Einrichtungen in Guantanamo und dokumentiert „Kolateralschäden“ im Krieg gegen den Terror. Sein jüngstes Projekt „Control Order House“ ist eine „top-to-bottom survey of a three-bedroomed residence in which a pre-trial, UK terror suspect lives under house arrest“.
Control Order House is the only existing photographic study of a residence occupied by a person under a UK control order. It is not an exposé, however. Given the legal sensitivities, every image was vetted by UK government officials. Clark was not allowed to reveal the identity of the terror suspect — referred to in legal documents as “CE” — nor his location.
“To reveal CE’s identity would be an offence and in breach of the court-imposed anonymity order,” says Clark. “All the photographs I took or the documents I wanted to use had to be screened by the Home Office.”
Strategically, Clark has decided to release Control House Order as a book. In addition to redacted legal documents, handwritten notes from CE and architectural plans of the house, the book reproduces contact sheets of all 500+ images made in the house and presents them in the order they were made.
This Incredibly Boring House Is a U.K. Terror Suspect’s Lockdown
