workshop task- 3D images.

To create 3D images. You will need two images of the same thing, taken from the same spot and time, but one using your left eye and the other with your right eye.

Photoshop: open both images move the right eye images over the left image.

Select the top layer (right eye image), now go to image (at the top of the screen) // adjustments//levels. Now go to channels and change RGB to Red, after that change the output levels from 255 to 0 and press ok.(top layer changes to blue)

Now select the background/ bottom layer (left eye image), go back to levels, change the channel to green and change the output to 0 again (layer changes to purple, see on side bar on the right), now change the channel to blue and the output to 0 (changes layer to red).

Now reselect the top layer and change the setting normal to screen (locate on the right hand side next to the small diagram of the layers).

Put on your 3D glasses and see the 3D image you have just created. Note: you may need to move the top layer to make the image 3D, this is if the two images are to out from each other.

There is another way of doing this. Do the same this, but instead of two images, made from using different eyes. Just use one image, but duplicate it to create another layer. Background copy will be top layer. and to make it 3D move the top layer down and aross to the right abit.

 

 

 

 this is a 3D image made using the same image

Introduction

Over the next six week, we have been asked to project at least one final image that has been digitally manipulated in one way or another. Throughout the six week we will be completing three Photoshop workshops, which will help us expand our skills that we may use in our final image/s and is needed to complete this assignment set. There is no theme set for this assignment, we must choose our own, however we must use are Photoshop knowledge and skills to create the image/s. It also must be documented along the way with idea improvement and explanation to all work. This assignment covers unit 34 which aims to recognise digital manipulation in the work of others, be able to digitise source material, be able to create work using image manipulation and be able to present our own design ideas. Alongside this we have been asked to research the history of digital manipulation and artists which use this.

photoshop workshop- evaluation

this is and evaluation of my final image for fantasy landscape and sequential work.

sequential images: for this i have done a sequence of three images showing the movement of a waving hand. my work is of still frames that are meant to represent movement when displayed together. to develop my work i change the order of the sequence, firstly i took many pictures of the hand in different positions and selected the best that fitted the sequence. for techniques i did, cropping the images, adding borders and presented the three images on one plain page. the photographer muybride,who did sequences on horses and people. he influenced me the most, i liked how simple but dramatic his sequences where. i am happy with the final sequence. but i feel i could have done better with a different theme and more time. but thats what you always say, when your not very pleased with things. :)     

fantasy landscape: for my fantasy landscape i have photoshopped and alpaca crossing the motor-way, with the bikers from the ride to the wall, going through his legs. this is my final piece and is also my personal response to the artist john goto, who uses photo manipulation to add objects i.e buildings to landscapes, to create realistic, unusual landscapes. i first started an image using water, however i am not confutable using photoshop when trying to manipulate water image. so i changed my image to this final image. i also had difficulty with this image, as the original image of the alpaca does not include a shadow. the techniques i used for this image, were magnet lasso tool, cut and paste, paint, and paint brush, quick mass mode and blur tool. i used these to layer both images together, blur the edges of the alpaca to give the non paste look and finally the brush tool to paint in the alpaca shadow. the way i fixed the shadow problem for the alpaca was to lasso the alpaca, paste it to the final image, paint it grey, change for normal to overlay then change the opacity. after this i rotated the image and reflected it, then lined it to the other alpaca image to make sure it fitted, after this i used transform to slant the shadow to give the impression that it was formed from the sun shinning on the alpaca from the right. i am very pleased with my final piece, as it is fun, personal and fits the brief. however if i were to redo this image. i would fix the problem with the white lines on the roads as the shadow doesn't seem to have work over them.

photographer john goto- fantasy landscapes

John Goto .born 1949 in Stockport, England. A British artist best known for his photo-digital artworks, notably coming to wider attention with the "High Summer" section of his Ukadia series of pictures .He studied Fine Art at St. Martin’s School of Art, London, where an interest in the narrative forms of European cinema and literature led him to the medium of photography.

John Goto began using computers in his work in the early '90s with a series made in Russia entitled "The Commissar of Space" which dealt with the final years of the artist Kasimir Malevich’s life during the early Stalinist era.

His account of the contemporary world continued with "John Goto’s New World Circus", a thinly veiled allegory of the occupation of Iraq set within a travelling circus. His attention turned to the issue of climate change with "Floodscapes" and cultural history in "Dance to the Muzik of Time". Prompted by the invasion of the Gaza Strip by the IDF (27 December 2008 - 21 January 2009), Goto has made "Mosaic", a series of apparently abstract images, which belie their traumatic source.

The development of Augmented Reality technology allowed Goto to extend his practice of photomontage into the actual world. In collaboration with Dr. Matthew Leach, he has produced augmented reality installations of West End Blues, The Invisible Artist and AR Gilt City, using the Layer app.

Goto has had solo London shows at Tate Britain, the National Portrait Gallery, and The Photographers' Gallery. He has exhibited his photo digital art widely in Europe. He currently works as Professor of Fine Art at the University of Derby, England. Goto is represented by f5.6 Galerie Munich; Gallery On, Seoul and Dominique Fiat Galerie, Paris.

"...

You don't see this immediately. Before that, there's the bucolic beauty of the rural backdrops: peaks of hills, dramatic skies bringing heavy weather, and shimmering expanses of water. Goto - whose works are on show at Edinburgh's Portfolio Gallery - borrows compositional principles from 17th-century French landscape painters Poussin and Lorrain, making these images oddly familiar and readable. His second main source is features lifted from the 18th-century English gardens at Stowe, Rousham and Stourhead, with their fake classical flourishes, their ha-has and their follies. At Stowe, for example, the gardens contain a River Styx and their very own Elysian Fields.
It's the combination of these two influences that gives Goto's photo-tableaux their authority as well as their sumptuous, seductive elegance. But this blending of different versions of the landscape emphasises the fact that our perception of the countryside has always been as much a social and cultural construct as our view of urban life...."

 comparison of my final image against john goto's work

photographer Eadweard Muybridge- sequential images

Muybridge was born in Britain at Kingston upon Thames in 1830, and died there in 1904. He was actually christened Edward James Muggeridge, but assumed his new identity after emigrating to New York in the early 1850s. It was not until 1867, following the American Civil War, that he emerged as a photographer. Over the following years, he quickly established himself with images that documented his adopted home of San Francisco and charted the progressive dynamism of the new nation.
Where Muybridge learned his skill as a photographer remains unknown. After an accident in 1860 affected his vision, he returned to Britain, where he remained until 1866, his absence coinciding with the American Civil War. after returning to San Francisco, Muybridge's first documented photographs date from 1867, when he worked for five months in the Yosemite Valley. Ever alert to commercial opportunities, he published the majority of his early views as stereographs. These were small cards with two photographs of the same subject, though each offered a slightly different perspective. Looked at through a handheld viewer, the image is transformed into a composite three-dimensional scene. Millions of these cards were sold throughout the 1860s to a public with an unceasing appetite for unfamiliar and extraordinary images. In identifying himself as a 'view artist'.
Muybridge, whose large photographs of Yosemite Valley were world famous, was born in Kingston-on-Thames, England, in 1830. He had taken the strange name Eadweard Muybridge in the belief that it was the Anglo-Saxon original of his real name, Edward James Muggeridge. In California he photographed the Pacific Coast for the government, accompanied the official expedition to Alaska when that territory was acquired from Russia in 1867, and became a specialist in industrial photography. In 1869 he invented one of the first shutters for a camera. His experience was to serve him in good stead.
Muybridge was the man who famously proved a horse can fly. Adapting the very latest technology to his ends, he proved his theory by getting a galloping horse to trigger the shutters of a bank of cameras. This experiment proved indisputably for the first time what no eye had previously seen – that a horse lifts all four hooves off the ground at one point in the action of running. Seeking a means of sharing his ground-breaking work, he invented the zoopraxiscope, a method of projecting animated versions of his photographs as short moving sequences, which anticipated subsequent developments in the history of cinema.
The results of Muybridge's labors were published in 1887 in the form of 781 collotype plates; they were sold separately, or bound in eleven volumes with the title Animal Locomotion. In addition to horses, animals of all kinds were borrowed from the Philadelphia zoo for photographing. But the most significant work was the human figure. Male and female models, nude and clothed, were photographed in all manner of activity - walking, running, laying bricks, climbing stairs, fencing, jumping. Muybridge even photographed one girl throwing a bucket of water over another girl's shoulders, and a mother spanking a child. His specific intention was to create an atlas for the use of artists, a visual dictionary of human and animal forms in action.

comparison of my final image of sequential images to muybridge's work.

photoshop workshop- edit,copy,paste. move and resize.

After selecting an image or a section of an image you wish to copy. go edit, copy. then paste it across to another picture or to another part of the picture you are currently working with using edit, paste.

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You can then move the image that you have pasted to a different part of the picture by using the move tool.aswell you can resize the image to the size you wish. use the arrow tool to move the image. and use the transform controls to resize it.

photoshop workshop- clone stamp

 select clone tool from the menu of tools on the left-hand side of the screen,then held down the 'Alt' key to select the area you wish to copy form.
you can pick the brush, the size, and the opacity of the brush to edit with.
 once selected you can let go of alt and click then draw where you want the cloned area to appear.
if you do this in a new layer, you can erase parts that you didn't want to clone.
keep doing this until your happy with your image. Note you can repeat this multiple times.