Let us try to guess who that photographer is! Again in an attempt to understand AI’s capacity for photography, we will focus on history via the profiles of famous photographers of the past and present.
As last week we will attempt to discover or rediscover a photographer that has marked his time, and thus will ask AI to explain, for better or for worse, just feel free to check better sources and compare to see if all of this is true or makes sense.
I will rely on Open AI, Dall-E, (for illustrations) and Open GPT (for the historical data).
And the video in French too:
This month of December was quite complicated. Sometimes you are inspired, sometimes you aren’t.
As I was struggling to finalise work last month, this month was more about going back to practicing photography with computational modules already finished to try to find inspiration.
The Herate insaturator finally grows on me, a new Kaddo Adav 200 filmulator, a large amount of random settings using Camare and Digital Paula.
Sometimes you have to enjoy the moment, some drinks, cake and other peoples’ company to let things happen.
This month was a bit of a lesser focused one than usual, but quite fun in any case.
And for those who want to see it in French:
The KMZ (Krasnogorski Mekhanicheskii Zavod) Tair 11 has been built in various variations. This is the original 133mm with an M39 mount for reflex cameras. It has further iterations made for the M42 mount. As such it doesn’t have rangerfinder coupling and will need intermediary extensions to adapt to a modern camera flange distance.
It is however known for its strong character and has the reputation of a great portrait lens. It also has twenty aperture blades which makes for great round bokeh at any aperture.
It is rather massive and has its small quirks, but overall is a very interesting optical beast indeed.
And again the French speaking version of the video review:
How to find new development ideas, algorithms for images, treatment and compatibility with practice.
This month I’ll be showing how the process of finding new ideas towards new development can be challenging.
How do you approach computational photography as an artistic mean and not solely a technical thing? An inner view on how these computational methods of image alteration can be more than simply trying to imitate or simulate but per se unique processes as would physico-chemical reactions.
And the link to the French speaking version:
