Tilt-shift photography is becoming increasingly popular in the mobile photo editing world. Even if you’re not sure what it is exactly, you’ve definitely seen it on your social feeds, and after reading this article, you’re definitely going to have a lot of fun with it.
Ready? Let’s jump right in!
So…what is it?
Tilt-shift photography is a technique that has several different uses, but nowadays, its most common use is simulating a miniature effect.
Okay, how do I do it?
Simulating tilt-shift photography is actually pretty simple. There are lots of mobile photo editors out there, but the one we are loving right now is called PicsArt Photo Editor. They just came out with a Tilt-Shift Tool that’s really easy to use, but this app really shines in all the different ways that you can personalize your shots. But let’s talk about what you need to do.
Anyone working in design, web development, or marketing can empathize and relate to the fact that building proper content can be a LOT of work. It is tedious, detail oriented, and sometimes totally painstaking. But, we all know that creating depth and draw to your concept is crucial, and so is nailing the visuals. No matter what it is- a website, business cards, smartphone apps, video game design, a presentation, product labels, a design pitch, anything- you need the right image. You get the visuals right, you nail the concept.
As with tackling any process, you have to have your tools. The resources and items you need to get your work done right. All artists and designers have their programs and websites where they draw inspiration from. GraphicStock is one of those tools. It’s a resource with endless possibilities. As a website full of stock graphics and images, any image you can fathom is on this site. GraphicStock is really intuitive and user friendly: You search the keywords of what you’re looking for, scroll through the results, download the images you need, and you’re done! GraphicStock is constantly adding more images to the site so you will never run out. The best part? Once you have the image it is YOURS, royalty free, forever. Use it all you want, without having to worry about copyright issues. Their whole mission is to provide high quality imagery at a price point that working people, artists, and students can afford.
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T.I.M. (tracking interactive mechanism) is a kinetic installation by artist/robot builder Danny Bertner. Using the open source development environment, Arduino along with Processing, Danny uses an OpenCV library (open computer vision ) to track faces of the viewer. The mechanisms behavior is interactive, yet random when the audience “provokes” it (i.e. stepping within range of a photocells value spectrum). Interested in our association with movement and how physical behaviors can provoke our innate behaviors, Danny is aesthetically inspired by early 90’s sci-fi animatronics and horror. Watch a video of the installation in action after the jump.
Sickly sweet works from LA based artist Zachary Rossman. Such delicate use of naturally colored papers, and the drawings have hints of the hyper-detailed patterns that make my brain twitch with excitement.
The incredible sand sculptures of Carl Jara more closely resemble ancient carved marble or surrealist daydreams than they do ordinary sand castles. His giant creations can reach an astounding height of fifteen feet, delightfully dwarfing beach goers and casting shadows across the sand. Jara has won several local, national, and international competitions with his powerful work.
Jara’s sculptural content seems to take a cue from his medium; each piece is devastatingly impermanent, fragile and vulnerable in the face of waves and rain. The carefully-constructed form of the sculptures express a similar evanescent quality, appearing as if they might vanish at any moment. The human body is split in two, and the flesh magically loses its materiality, intermingling with draped fabric. Here, bisecting the nude form is as simple unzipping a zipper that lines the torso; in this surreal realm, it appears as though we may shed our physical, mortal bodies like clothing.
And yet, somehow these images suggest a spiritual permanence of the creative self. Though the human figure is shown as transient, and although the artwork will surely vanish with the tides, Jara’s body of work hints at an invisible and unknown infinity. A man opens himself, revealing countless tiny selves arranged like Russian dolls. A piece titled Infinity presents a man, a philosopher maybe, holding unending manifestations of his own thought within a large, curved palm. Like grains of sand, we humans will one day be washed away, but in some surreal universe, our identities will be repeated, remembered time and again. (via Colossal)
Berlin-based artist Ivan Prieto sculpts colorful figures whose very existence seems to be burdened by their own body. In his 2014 exhibition titled Icarus, a cast of characters pepper the gallery, each with their own affliction. One lean figure has an intrusive rock growing from its skull. Another is armless and has its torso wrapped in large red coils. As a whole, the group is beautiful yet tragic.
The name of the exhibition could give us some clue about these character. It refers to the Greek mythological story about Icarus, the son of Daedalus who dared to fly too near to the sun on wings of feathers and wax. Before takeoff, his father warns of him of having hubris and requested that he not fly too low or high because the sea’s dampness would clog his wings while the sun’s heat would melt them. Since he flew too near, his wings melted and he fell into the sea.
Like their namesake, there’s a sense of these characters suffering physical consequences for their choices, be them foolish or misguided. You feel for Prietro’s sculptures, because they could be any of us.
A living snake wrapped around a face, a dozen of ladybugs, a scorpio and an howl using that same face as a structure. That is the set up of a fantastic photography series by Juul Kraijer called ‘Penumbrae’. The titles evokes darkness and shadows. It’s what we are getting visually and internally. The artist is inspired to manipulate reality, in the end, she gets to manipulate us, the viewer, in a disconcerting way.
The models are just the vehicle for ideas, they are not to be considered like portraits, nor are the animals. Clearly the main subject is twosome: the fusion between the animal and the face and the dark background. The intriguing face/animal amalgamation stands out from the shade, as if it had been sitting in the dark for an eternity. It will appear for a brief moment and then will go back into the gloom exactly the way we saw it at first, for all times.
Imperturbable tranquillity is the general tone. Despite a unsettling scenario that could create an anxious atmosphere, the calm sported by the faces leaves a mark of grace, the same expression that is usually found in Renaissance portraiture. Juul Kraijer is fascinated by surrealist photography, hence the execution of her series. Surrealism is about getting rid of the mind and the reason to only let the imagination dive and drive into the interpretation of the picture. Ideas and dogmas cannot be suggested, personal understanding cannot be captured.
The artist has created provocative poses. By elevating the animals on top of the faces she questions the hierarchies between humans and animals, models and accessories. The fact that the roles are reversed creates intensity, almost a tension. Comparably to the symbol of eternity described above, the use of the mirrors creates oddity and redundancy, which extends the feeling coming out from the photographs. The viewer is tempted to look away but there’s an indescribable attraction, a desire to see more.
Anna Ter Haar is interested in forms that drip and suggest malleability. Whether she applies this idea to furniture or fashion accessories, the effect is similar: the viewer becomes immediately aware of the impermanence of the objects that she transforms, while at the same time aware that the ultimate practicality of the objects is not entirely lost. She primarily uses paint, wax, and glass, substances that become their most malleable when heat is applied. Her work also captures moments in time; her glass and chair sculptures seem to be caught mid-movement and mid-transformation.