impermeable.

lomokino: lomography’s very own 35mm movie camera,
go back to the early days of motion picture and experience lomographic delight on a whole new platform.



+: read 
more

gadgets photographed piece by piece and reconstructed
by max esteban
he took these cameras (and other gadgets) apart and photographed each layer. he then put them back together to create one image.

+: see more

cameraby sebastian andaur+: his flickr

camera
by sebastian andaur
+: his flickr

cutaway of a nikon by artist, christopher williams+: website

cutaway of a nikon
by artist, christopher williams
+: website

the camera collection: a collection of 100 pixelated camera illustrations by billy brown+: you can see (and download) each one of them here

the camera collection: a collection of 100 pixelated camera illustrations 
by billy brown

+: you can see (and download) each one of them here

by jimmy tan+: more

by jimmy tan
+: more

cultfilms:

a drug-dealing teen is killed in japan, after which he reappears as a ghost to watch over his sister.dir.: gaspar noédrama / drugs / sex / thriller2009nathaniel brown as oscarpaz de la huerta as lindacyril roy as alex olly alexander as victormasato tanno as mario some facts:- gaspar noé describes his movie as a “psychedelic melodrama”. - noé planned enter the void over a period of 15 years - before his short film carne (1991). he was around 23 years old, when he saw robert montgomery’s lady in the lake (1947) on drugs. the film is shot in subjective camera, entirely from the point of view of the main character. for enter the void, noé uses a subjective camera in the same manner. the main character oscar is seen just once while the character is alive (in a mirror.) - noé was inspired by the famous “star gate” sequence in stanley kubrick’s 2001: a space odyssey (1968). for creating the special trippy atmosphere, the norwegian vj artist glennwiz (glenn jacobsen) was contacted for use of one of his videos. - to develop this first-person perspective, noé also was inspired from the opening sequence in strange days (1995) by kathryn bigelow and the music video for the prodigy’s “smack my bitch up”, directed by jonas åkerlund. - noé intended the film to be shown at 25 frames per second, rather than the 24 usually used in cinemas. the original cut is 154 minutes at 25 fps, or 161 minutes at 24 fps. director’s trademarks:- frequently casts philippe nahon.- likes either very long, intricate shots or totally static ones.- opening credits are presented as title cards, in a pulsating fashion, with a reverb beat everytime they appear.- often uses computer-generated images that are hard to detect.- heavy strobing lights.+: imdb

cultfilms:

a drug-dealing teen is killed in japan, after which he reappears as a ghost to watch over his sister.

dir.: gaspar noé
drama / drugs / sex / thriller
2009

nathaniel brown as oscar
paz de la huerta as linda
cyril roy as alex
 
olly alexander as victor
masato tanno as mario
 

some facts:

- gaspar noé describes his movie as a “psychedelic melodrama”. 
- noé planned enter the void over a period of 15 years - before his short film carne (1991). he was around 23 years old, when he saw robert montgomery’s lady in the lake (1947) on drugs. the film is shot in subjective camera, entirely from the point of view of the main character. for enter the void, noé uses a subjective camera in the same manner. the main character oscar is seen just once while the character is alive (in a mirror.) 
- noé was inspired by the famous “star gate” sequence in stanley kubrick’s 2001: a space odyssey (1968). for creating the special trippy atmosphere, the norwegian vj artist glennwiz (glenn jacobsen) was contacted for use of one of his videos. 
- to develop this first-person perspective, noé also was inspired from the opening sequence in strange days (1995) by kathryn bigelow and the music video for the prodigy’s “smack my bitch up”, directed by jonas åkerlund. 
- noé intended the film to be shown at 25 frames per second, rather than the 24 usually used in cinemas. the original cut is 154 minutes at 25 fps, or 161 minutes at 24 fps. 

director’s trademarks:

- frequently casts philippe nahon.
- likes either very long, intricate shots or totally static ones.
- opening credits are presented as title cards, in a pulsating fashion, with a reverb beat everytime they appear.
- often uses computer-generated images that are hard to detect.
- heavy strobing lights.

+: 
imdb

alberto morell: camera obscuratop:left: photographed with a tent camera on a rooftop capturing the view of the brooklyn bridge.right: time square, new york.bottom:left: view of the outskirts of florence, with books.right: brooklyn bridge.his camera obscura technique has taken him from photographing his own living room to interiors across the globe. in setting up a room to make this kind of photograph he covers all windows with plastic in order to achieve total darkness. then he cuts one small hole in the materials that he uses to cover the windows. an inverted image of the view outside then floods onto the walls in the room. he focuses the large-format camera on the incoming image on the wall and exposes the film.he recently designed a light proof tent that, via periscope type optics, makes it possible to project a view of the nearby landscape onto whatever ground is under the tent. inside this darkened space he uses a view camera to record the effect. he says, “this tent-camera now liberates me to use camera obscura techniques in a world of new places. i now have a portable room, so to speak.”+: his website+: more

alberto morell: camera obscura

top:
left: photographed with a tent camera on a rooftop capturing the view of the brooklyn bridge.
right: time square, new york.

bottom:
left: view of the outskirts of florence, with books.
right: brooklyn bridge.

his camera obscura technique has taken him from photographing his own living room to interiors across the globe. in setting up a room to make this kind of photograph he covers all windows with plastic in order to achieve total darkness. then he cuts one small hole in the materials that he uses to cover the windows. an inverted image of the view outside then floods onto the walls in the room. he focuses the large-format camera on the incoming image on the wall and exposes the film.

he recently designed a light proof tent that, via periscope type optics, makes it possible to project a view of the nearby landscape onto whatever ground is under the tent. inside this darkened space he uses a view camera to record the effect. he says, “this tent-camera now liberates me to use camera obscura techniques in a world of new places. i now have a portable room, so to speak.”


+: his website
+: more

canon pixma: bringing colour to life
by dentsu london

the campaign is made by stretching a balloon over a speaker, then dropping paint in the center, before blasting it with a single sharp note. the paint splashes, and a camera set on what looks like a gravity ride spins around the speaker, snapping away at 5,400 frames a second.

the designers experimented with several combinations of color, sound frequency, and volume.

+: dentsu @ pixma shoot for canon (flickr)
+: dentsulondon.com

blurbby steven moeauusing a diy battlefield pinhole camera.no photoshop.+: his flickr+: diy photography: how to do your battlefield pinhole camera

blurb
by steven moeau

using a diy battlefield pinhole camera.
no photoshop.

+: his flickr
+: diy photography: how to do your battlefield pinhole camera

adam magyar recently used high tech and homemade scanner cameras to photograph and then display a single large image of 160 walking people.+: walking as one (you can zoom in and out all over)

adam magyar recently used high tech and homemade scanner cameras to photograph and then display a single large image of 160 walking people.

+: walking as one (you can zoom in and out all over)

august 03, 2010los angeles, usataken (today) using an iphoneby rob sheridan 

august 03, 2010
los angeles, usa

taken (today) using an iphone
by rob sheridan 

the pen giant
stop motion
355 pictures have been taken, printed in billboard size and shot again.
the video was produced with the olympus pen itself. no tricks or computer animation at all.

+: pen story

the pen story
stop motion 
shot 60.000 pictures, developed 9.600 prints and shot over 1.800 pictures again.
no post production!

+:
pen giant 

the german photography artist michael wesely has created even longer exposures using a self-built pinhole camera. he captured the light of his objects for up to 3 years. in 2001 he was invited by the museum of modern art in new york to use his unique technique to record the re-development of their building. he set up 4 cameras in 4 different corners and photographed the destruction and re-building of the moma until 2004 - leaving the shutter (the holes) open for up to 34 months!(via vainaspaver / the longest photographic exposures in history) 

the german photography artist michael wesely has created even longer exposures using a self-built pinhole camera. he captured the light of his objects for up to 3 years. in 2001 he was invited by the museum of modern art in new york to use his unique technique to record the re-development of their building. he set up 4 cameras in 4 different corners and photographed the destruction and re-building of the moma until 2004 - leaving the shutter (the holes) open for up to 34 months!

(via vainaspaver / the longest photographic exposures in history