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Streets Illustrated: Colorful Interventions Make the City More Fun

24 Jan

[ By SA Rogers in Art & Street Art & Graffiti. ]

Filling the city with art by literally painting right onto the streets makes it feel like everyone is immersed in an illustration, acting out some kind of larger-than-life story. Formerly bare patches of asphalt and concrete get splashes of color, patterns and imagery that can be humorous, fun or politically pointed. Roadsworth is among the street artists best known for this style, and recently debuted a new piece referencing the refugee crisis.

roadsworth-montreal-mural-festival

“A new record: as of today, the UN has counted 65 million refugees in the world,” he says. “I painted this in recognition of this tragic fact. Walls and Fences are for painting and climbing not for dividing and obstructing.”

In this particular mural, painted onto a street in Montréal, passersby are confronted with massive hands cling to a chain-link fence, effectively forcing them to recognize and think about the subject matter.

roadsworth-gif

roadsworth-ice-cream

roadsworth-bridge-crossing

Other Roadsworth murals are more playful, like a stop-animation squirrel that appears to run down the street when the images are stacked in a GIF, and a crosswalk that has been turned into a rope bridge. A giant pink ice cream cone melts onto the pavement.

roadsworth-octopus

roadsworth-bike-path

roadsworth-singing-river

Prints can be purchased at Roadsworth.com, and you can keep up with the artist’s work on Instagram.

[ By SA Rogers in Art & Street Art & Graffiti. ]

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Mobile Remix: Cement Mixer Disco Ball Turns Streets into Night Clubs

16 Dec

[ By WebUrbanist in Art & Installation & Sound. ]

cementitious

Cladding a cement mixer in pixelated mirror squares, a French artist has created a giant glittering disco ball on wheels able to turn vacant lots and construction sites into instant party zones.

disco-party-ball

Benedetto Bufalino often adds fun to the mix when working with interactive and installation pieces (unusual sports courts and strange phone booth conversions), for instance, but rarely in quite such a dramatic way.

Parked for a time next to a building site in Lyon and given its own spotlight, the artist’s remixed mixer spins up and casts light in all directions. The idea driving the project is simple: bring together locals and passing pedestrians to mix and meet in the resulting rays.

cement-mixer

cement-mixed

Of course, it doesn’t hurt that the entire setup is mobile — for guerrilla party throwers, the mixer can set up shop then move if complaints mount or authorities arrive. Or it can simply cruise slowly down the street, making for a truly and permanently portable party.

mixer-under-construction

mixer-in-garage

mixer-by-day

Meanwhile, when not at work hosting parties, the vehicle can carry and pour concrete as usual — like many urban residents, it is a worker by day but a partier by night.

[ By WebUrbanist in Art & Installation & Sound. ]

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Hidden Addition: Stealth NYC Penthouse is Invisible from Streets Below

30 Nov

[ By WebUrbanist in Architecture & Houses & Residential. ]

stealth-roof

Unseen above the restored cast-iron facade of this 1857 residential structure in Tribeca, a stunning modern loft extends the building’s livable space, its form responding directly to lines of sight.

roofline-view

view-from-below

Designed by WORKac and known as the Stealth Building, the addition had to work with the existing facade — to preserve its appearance, rendering it invisible became the obvious approach.

hidden-addition-from-above

roofline-view

roofline-calculation

In order to accomplish this clever act of concealment, all angles of view and shadows cast had to be accounted for. In turn, these informed the shape of the angular extension. Tracing lines of visibility across facade features of adjacent buildings, the designers derived a roof line that would work with the project goals.

interior-kitchen-space

roofline-interior

All of this naturally shaped the interior spaces as well, creating dramatic diagonal lines that carry through the various rooms.

loft-addition-space

roof-hot-top-deck

The fifth-floor pop-up features sleeping quarters, entertaining and dining spaces, as well as a secluded terrace tucked behind the pediment to provide privacy for residents. The former elevator bulkhead has been converted to contain a hut tub servicing the deck as well.

[ By WebUrbanist in Architecture & Houses & Residential. ]

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LEGO at Large: Modern Block Vehicles Hit the Historic Streets of Rome

11 Nov

[ By WebUrbanist in Art & Photography & Video. ]

block-car

A sports car parked in a residential alley, train emerging from a tunnel and helicopter landing next to the Colosseum are all believable sights in Italy’s capital … except in this case they are constructed from LEGO.

lego-train-tracks-tunnel

lego-landing-helicopter

Italian photographer Domenico Franco imagines these block-built vehicles at human scale in his series LEGO Outside LEGOLAND, masterfully faked scenes of photo-realistic quality.

lego-race-car-unloading

lego-large-in-rome

In his series, normal conveyances are swapped with LEGO creations that stand out as simplified block forms against the rich historical fabric of Rome.

lego-parked-speeder

lego-construction-vehicle

While some are clearly toys writ large, others are more convincing: a passing glance at a tractor trailer doing road work might not immediately belie its fictional origins.

lego-car-tight

Landmark buildings and aged cobblestone roads come alive thanks to the contrast created by intervening toys. Ordinary gray-blue weather and aged architecture seems even more real than in a normal photograph.

lego-ambulance-parked

“The aim is to transform ordinary contexts in extraordinary ones,” says the artist, “thus compelling the toys to get out of the idyllic and politically correct landscapes belonging to their perfect and idealistic cities, with the result of instilling in them those vices, virtues and desires typical of human beings.”

[ By WebUrbanist in Art & Photography & Video. ]

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Rolling Landscape: Driverless Geodesic Garden Hits the Streets of London

10 Oct

[ By WebUrbanist in Conceptual & Futuristic & Technology. ]

geodesic-mobile-garden

As robotic cars take to the streets, designers are beginning to see possibilities for urban mobility that go beyond human and cargo transport. What if plants, for instance, could be moved around automatically, seeking out sun, filtering dirty air and providing fresh greens within cities?

Inspired by Buckminster Fuller’s geodesic domes and Operating Manual for Spaceship Earth, the Interactive Architecture Lab at the University College London has designed and built Hortum Machina B (the last letter short for Bucky).

rolling-garden

An aluminum core houses the technology’s robotics, monitoring plants on the periphery and changing rotation and position to accommodate their needs. On-board water storage supplies moisture for growth while the ball stays in motion.

garden-sphere

This novel mobile ecosystem is solar-powered, so its search for sunlight fuels not only the plants on board but the system itself. With efficient water reclamation, the garden could stay on the move indefinitely.

garden-module-prototype-plan

The internal computer system not only keeps the plants healthy but serve as part of a larger set of smart-city initiatives. For instance, sensors can detect and seek out areas with poor air quality, letting the plants provide filtration on demand.

urban-farm-rolling

The sphere could also roll itself through urban food deserts, allowing people to pick edibles as it winds its way through a city. Of course, this shape may not be the most efficient manifestation of the idea, but as a conceptual model could inspire similar and more sustainable typologies.

solar-garden-london

street-garden-design

Presumably, in a future world of autonomous vehicles, there will be both mechanisms and space to accommodate driverless gardens as well as cars. Freed-up streets could be used to transport all kinds of things, not just conventional goods and people but also micro-ecosystems and other stuff we have yet to think of. For now the, the robotic garden has been tested in London and remains prototype. It might not be as productive per square foot of space as many new urban farm designs, but perhaps it makes up in novelty and mobility what it lacks in terms of strict productivity.

[ By WebUrbanist in Conceptual & Futuristic & Technology. ]

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4 Ways to Get Inspiration from the Streets to do Better Wedding Photography

14 Jul

Be inspired by decisive moments on the streets to create better wedding photography.

If you are reading this article you must have some interest in street photography, or maybe you are starting as a professional wedding photographer, but most likely you are interested in both fields. This will give you some ideas on how to draw inspiration from street photography that you can use in your wedding work.

A street photographer can be anyone going out to wander the streets of a city with their camera, in order to make photographs that tell the human story of daily life as it occurs on the streets. A wedding photographer on the other hand, is one that is hired to capture memories, tell the love story, and the unfolding special day in a family’s life. The wedding photographer is a professional with enormous responsibility to find, and deliver the right frames, that will recreate trusted memories, decades after the big day is over.

A clear personal artistic voice is what separates one photographer from another. That voice is who you are, but that voice of yours needs constant care and development, in order for it to be a dominant factor in your photographic style as a professional photographer. Competition, changing trends, and the release of new gear also have their own voices that can influence your photography. Maintaining a balance between your inner world and the outer influences is key to success as a street-wedding photographer.

The following tips came from the world of street photography and are perfectly suited for the wedding photographer. If you master them on the street, you can go to a wedding with confidence, and sing your own song with your camera.

1 – Planning versus reacting

Wedding photography tips
What it takes to make great decisive moment photographs is, that first of all you need to see them before they occur. The longer before the better, it will give you the time to plan your composition, and work towards a frame that will be exciting and tell a story. In order to see things before the happen it takes looking around your subject, and constantly look at the surroundings of the bride, rather than focusing your attention only on her. This way you will be able to notice other elements and people that make your frame more interesting and communicative. Even as short as two or three seconds can be long enough for a street photographer to plan a good frame.

If you look around and plan your next shot you have a greater chance of catching the decisive moment, rather the one that follows.

2 – Create emotion

wedding photography tips motion
Freezing and blurring the movement of objects and people are two ways to communicate emotion in a photograph. It is a property that is unique to still photography, and is a big part of the photographic language. But often many photographers think that a wedding photograph has to be sharp and in focus, and the end result is often a precise documentation of reality, rather a poetic description of the moment. Give yourself the time it takes on the street to fully understand how the blurring and freezing of motion is being read and perceived by the viewers.

Master motion techniques then bring them into the weddings you photograph.

3 – Understand the way light can work for you

wedding photography tips light
Explore the way light falls on things, and the way it looks in your street photographs. When your are under the stress and responsibility of a wedding day the thinking side of your brain often takes over, and shuts down the creative side. You may see the wedding as a checklist of photographs to be taken, images of subjects, rather than decisive moments to tell a story.

One way to keep the creative brain in charge of things is to remind yourself constantly to work with the light, see light, change it if necessary, and let go of the subjects. If you are photographing the bride getting ready, she is the subject whether you think about it or not, now it’s time to think about light.

4 – Responsibility and integrity

wedding photography tips

Whether you work for yourself as a street photographer, or as a professional wedding shooter, you should be able to sleep well at night. You should never publish street photographs that might hurt someone’s feelings or cause them damage. However, that being said, you should also remember that the act of photographing people on the streets doesn’t harm them in any way, and have no fear to do your art.

There is another side to the coin of responsibility, that is integrity. when you are hired to photograph a wedding be sure to have shown only photographs that were made by you, that are a good representation of your style and voice. Be sure to let your clients know that they are going to get artistic street-wedding photographs if that is what you want to give them!

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The post 4 Ways to Get Inspiration from the Streets to do Better Wedding Photography by Ouria Tadmor appeared first on Digital Photography School.

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Superblocks to the Rescue! Barcelona Reclaims Its Streets

19 May

[ By SA Rogers in Architecture & Cities & Urbanism. ]

superblocks

Could ‘superblocks’ help Barcelona return to its late-19th-century vision of urban utopia, clearing out the snarled streets so mini neighborhood blocks can literally breathe? The rapidly expanding Catalan city was suffocating within its medieval walls before engineer Ildefons Cerdá came up with his controversial plan to tear them down and build a gridded district called Eixample way back in the 1870s. This orderly block-based approach met with a lot of resistance when it was proposed, yet ultimately became a model for urbanization before the burgeoning density of the industrial era choked it with cars and filled its air with pollution.

barcelona

The plan was for the population to be spread out equally, with green spaces, schools, markets and other necessary neighborhood functions easily accessible from every block. While it did help make Barcelona healthier at the time, each of those tiny streets has been invaded by too many cars for the city to handle, and apartment blocks have sprouted up where parks used to be. Eixample has just 1.85 meters of green space per inhabitant, compared to Amsterdam’s 87.5, and the air quality and sedentary lifestyle are leading causes of death.

barcelona car free

Barcelona’s urban planning committee wants to reverse that with ‘superilles,’ or superblocks. First, traffic would routed to larger roads on the perimeters, with cars, trucks and scooters only allowed within each block if they belong to residents. 186 new miles of cycling lanes throughout the city will encourage biking, and an orthogonal bus network keeps public transit on main thoroughfares. Each superblock would become like its own little city, with its own character.

superblock 2

This new city structure would free up 160 intersections for foot traffic, events, gatherings and other community-based purposes. The process is being conducted through gradual changes utilizing existing infrastructure, starting with nine areas. Sant Martí, a district that already hosts car-free days, will act as one of the main guinea pigs in a series of trial and error experiments the councillors call “tactical urbanism.”

“We have, as a base [for the plan], Cerdá’s Eixample, which was undermined by greed,” says Salvador Rueda, director of Barcelona’s urban ecology agency. “What was green in the plan was slowly overtaken and built on. And then, when cars arrived, they slowly overtook more and more space… We want to reclaim those green spaces and that can only be done through a drastic mobility change.”

Images via The Guardian + Mobilitat

[ By SA Rogers in Architecture & Cities & Urbanism. ]

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Depth-Defying Art: 3D Chalk Characters Blend into City Streets

26 Apr

[ By WebUrbanist in Art & Street Art & Graffiti. ]

chalk hidden mouse

Bringing a certain subtly and sense of humor back to three-dimensional chalk art, David Zenn creates highly-contextual scenes using an array of animal characters, all interacting with urban environments.

crack dog rescue

For decades, he has used chalk and charcoal to feature pieces that tie into their surroundings, relating to anything from fallen flowers to cracks in the sidewalk.

interactive chalk figures copy

Rats, bears, lizards, dogs and other less-identifiable animalian hybrids can be found lounging around, floating balloons or hiding in imagined holes, like refugees from a wild children’s book.

trapped cat

chalk mouse warrior

chalk mouse player

wall mice

reading light

Over time, a cast of regular characters has evolved, appearing in different places, telling a story through each sequential work of art. Some of his archival prints are for sale, as well as his book Temporary Preserves (via Colossal).

[ By WebUrbanist in Art & Street Art & Graffiti. ]

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Signal-Free Intersections: Future Streets for Self-Driving Cars

09 Apr

[ By WebUrbanist in Architecture & Cities & Urbanism. ]

driverless car intersection

All of our automotive infrastructure is designed around the needs of human drivers, but in a world of driverless cars, a crossroads need not slow anyone down, let alone force someone to stop.

A team of researchers from MIT, Swiss Institute of Technology and the Italian National Research Council developed this Light Traffic concept for maintaining safe distances and speeds, moving vehicles through quickly, efficiently and fairly. Traffic problems are boiled down to a system of sequences, each accommodating different volumes from different directions.

driverless 2

Vehicles approaching the intersection are slotted into a system that slows them down in advance, anticipating the traffic coming from all sides.

driverless 3

By avoiding unnecessary stops, vehicle emissions are reduced, fuel is saved, and annoyance alleviated. Road infrastructure would last longer too, while the lack of lights would reduce costs both upfront and ongoing. In time, such systems could even reduce the need for lanes, giving back space for sidewalks, greenery or other uses.

[ By WebUrbanist in Architecture & Cities & Urbanism. ]

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Fujifilm X70 Shooting Experience: Taking it to the streets

13 Feb

Fujifilm X70 Shooting Experience

The first thing you’ll notice about the Fujifilm X70 is that it looks an awful lot like an X100T. The second thing you’ll notice is how similar some core specifications are to an established cult classic among street photographers, the Ricoh GR II. And despite featuring retro-inspired dials-on-dials design coupled with a 16MP APS-C sensor and 28mm equiv. F2.8 lens, the X70 turns out to be very distinct from both of those cameras in real-world use.

Basics and Handling

The X70’s X-Trans APS-C CMOS sensor is lifted from the X100T and offers the same 16.3MP resolution and hybrid AF system. The lens is new though – it’s a fixed 18.5mm (28mm equiv.) F2.8 prime with two aspherical elements tucked behind a 9-bladed aperture diaphragm. Exposure is taken care of courtesy of a leaf shutter, allowing for near-silent operation, and if for some reason you need to be even quieter, the electronic shutter goes all the way to 1/32,000. That’s a good thing for general daytime shooting as well, since the X70 doesn’t get a built-in ND filter like the X100-series.

Fly by night. SOOC JPEG, Classic Chrome mode. Photo by Carey Rose. F4 | 1/60 | ISO 200

The buttons and dials on the X70 leave a little to be desired. For the most part they function just fine, but the dials feel a little less-than-premium: kind of a halfway point between the X-A / X-M and X100-series of cameras. The buttons have positive feedback, but are a little too flush with the body. In fact, though you can reassign the movie button to something else, it’s so flush that it’s incredibly difficult to press. I’ve found that it’s easiest to ignore it. Also, because the screen protrudes a bit when folded against the body, it gets in the way of you pressing the left-most button on the four-way controller. The playback buttons might seem oddly placed on the top of the touchscreen, but they actually work well there.

All-in-all, though, the act of controlling core settings on the X70 is very similar to the experience of using the X100T, which is to say it works both very quickly and very well.

One-man dance party. SOOC JPEG using Monochrome mode. Photo by Carey Rose. F5.6 | 1/60 | ISO 1000

The X70’s rubberized front and rear grips are grippy and well-sculpted, and the camera feels comfortable and secure even in one hand. That said, the aperture control ring around the lens and the articulating touchscreen encourage two-handed operation.

Performance

But using two hands won’t slow you down with the X70. In fact, not much will. The 0.5-second startup time (high performance mode) of the X70 means that the camera is ready to shoot very quickly. This is about three times faster to start up than the GR II and means that subjectively, the X70 just feels more responsive when shooting out and about.

Play time. Processed to taste from Raw using the Pro Neg Standard color profile in ACR. Photo by Carey Rose. F2.8 | 1/125 | ISO 200

Focus times in Single-AF for the X70 are also on the sprightly side (at least for Fujifilm). The hybrid AF system does usually undergo a slight hunt before locking focus, but the live view never freezes up. Of course, street shooters will miss a thorough implementation of snap focus, but Single-AF was usually fast enough that we didn’t miss it anyway.

So while overall Single-AF speed is good, accuracy tended to vary more than we’d like. The focus would sometimes shift slightly in frames taken in immediate succession, even in daylight. To be fair, I found this mostly when shooting with the contrast-detect-only AF points near the edge of the frame. Your mileage may vary. This focus shifting didn’t affect my images much for web viewing, but I definitely noticed it on even a moderate-sized monitor.

The combination of close focus and a mild wide angle mean you can get pretty close to your subject, have some background isolation, and still have some context in the scene overall. SOOC JPEG using Classic Chrome mode. Photo by Carey Rose. F5.6 | 1/125 | ISO 1250

Continuous AF isn’t really a strong point for cameras of this general type and price point. With the X70 in single-point AF-C mode, you’ll get some lag if your subject is too quick, along with a whole lot of hunting. AF-C + Zone, which uses the PDAF area in the center of the frame works better, but the PDAF area is too small for really meaningful subject tracking. AF-C + Wide / Tracking does a reasonably good job of identifying the subject to track, but you’ll often get excessive and incessant hunting behind and in front of the desired subject. This was noticeable even if the subject wasn’t moving.

I ended up using the X70 in the same way as I use other Fujifilm cameras – in AF-S mode.

The First Fujifilm Touchscreen

What really sets the X70 apart from both the X100T and the GR II is its tilting touchscreen, a first on any Fujifilm X-series camera. Sure, it’s made it really easy for me to take unflattering couch selfies, but it mostly makes for a very discreet shooting experience. Using the X70 with the screen as a waist-level finder, you can touch to acquire focus anywhere in the frame and capture your scene without ever lifting your head. Uninterested passers-by will assume you’re texting or maybe fiddling with dials on your hipster film camera, and if someone does actually pay you some attention, it just looks like you’re going a little heavy on the chimping.

Just chimping, bro. Processed to taste in Raw using the Monochrome preset in ACR. Photo by Carey Rose. F5.6 | 1/60 | ISO 400

The tilting screen also helps when it comes to getting the most out of the 28mm field of view that the X70 offers. Unlike a 35mm or a 50mm, a 28mm focal length requires some careful attention to foreground and background elements to keep your images from feeling too flat. Being able to easily frame subjects from ground-level or above my head helped me get a little more accustomed to 28mm, a focal length I normally tend not to gravitate towards.

Image Quality

The sensor inside the X70 is quite literally nothing new. Though this 16.3MP X-Trans sensor is getting a little long in the tooth, overall dynamic range and noise performance are still very good, and as we’d expect, very comparable to the closely-related 16MP sensor in the GR II. We prefer the rendering from Fujifilm’s X-Trans sensor in JPEG mode, but Raw files from the more conventional filter array in the GR are easier to handle.

Camouflage. Processed to taste from Raw using the Pro Neg Standard preset in ACR. Photo by Carey Rose. F2.8 | 1/60 | ISO 1000

The lens on the X70 though is an all-new design, but in both the studio and the real world, we found the lens on our particular X70 to be noticeably less sharp than that on the GR II. Of course, this could be an outlier (we are using a very early production model camera) but we’ll keep an eye on it and do a control test with another sample as soon as we can.

It’s worth noting that the lens on the X70 doesn’t offer a dedicated macro mode. It doesn’t really need to. The close focus distance of 10 cm (~4 in) allows you to get a little more creative with your compositions as well as get some reasonable subject separation despite the vaguely unimpressive maximum aperture.

Overall Impressions

It’s time for a talk. SOOC JPEG, shot in monochrome mode. Photo by Carey Rose. 1/60 | F2.8 | ISO 2500

Time to be brutally honest. The spec sheet on the Fujifilm X70 isn’t all that exciting. We’ve seen the sensor, processor and autofocus system before. The lens, a new design, only opens to F2.8. It’s appreciably smaller than an X100T, but is more ‘coat pocket’ than ‘jeans pocket.’

In spite of all of this, the Fujifilm X70 is a thoroughly enjoyable and engaging camera to use. Full disclosure: I feel the same way about the GR II, but using it is a completely different experience. If you have a GR II and like it, there’s really not enough of a reason to dump it for the X70. If you like your X100-series but were looking into a more portable option like the GR II, the X70 is definitely worth a look. Strictly speaking, these two cameras are capable of achieving very similar results. But as the files between them have their own unique signature, so does the handling, and handling is a very personal matter indeed.

So in the end, is there room for two similarly-specced street-focused APS-C shooters in the marketplace? Time will tell, but with the X70, Fujifilm has created a compact, responsive camera that in terms of both specification and design, is greater than the sum of its parts.

Additional Content

Fujifilm X70 Updated Samples Gallery

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See our updated Fujifilm X70 real-world gallery

Studio Test Scene Comparison

See the Fujifilm X70 in our studio test scene comparison tool

Articles: Digital Photography Review (dpreview.com)

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360Photography

Posts Tagged ‘Streets’

Streets Illustrated: Colorful Interventions Make the City More Fun

Mobile Remix: Cement Mixer Disco Ball Turns Streets into Night Clubs

Hidden Addition: Stealth NYC Penthouse is Invisible from Streets Below

LEGO at Large: Modern Block Vehicles Hit the Historic Streets of Rome

Rolling Landscape: Driverless Geodesic Garden Hits the Streets of London

4 Ways to Get Inspiration from the Streets to do Better Wedding Photography

1 – Planning versus reacting

2 – Create emotion

3 – Understand the way light can work for you

4 – Responsibility and integrity

Superblocks to the Rescue! Barcelona Reclaims Its Streets

Depth-Defying Art: 3D Chalk Characters Blend into City Streets

Signal-Free Intersections: Future Streets for Self-Driving Cars

Fujifilm X70 Shooting Experience: Taking it to the streets