Sup /p/, here's some random stuff I've been workin

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>>2995508
Can you add an artist statement or something about it? Why the crab leg? Why the Space Odyssey obelisk?

Lighting is cool but is telling a story of its own, especially in the second one with the hard vignette. First one is way more visually stimulating for me. Top down shot seems a bit more forced, where as the first image is a great angle for such a still life. In studio or on the beach?

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>>2995512
>Can you add an artist statement or something about it?
sure
http://www.reagandpufall.com/lost-1/
http://www.reagandpufall.com/remnants/

The first image will fit in with these guys. Either artist statement on those pages could be applicable.

>Why the crab leg?
mantis arm and head, you have read the scale off by some magnitude

>Why the Space Odyssey obelisk?
So I can rely on existing science fiction visual language to help provide a context that can be shown and not told. That is, the scene can be taken as a snow or lunar-esque dust that when paired with the obelisk clearly places it outside of earth. When paired with the mantis (established as an alien other in a past show) it will help transition the conversation of the show I'm working on. The long short of that show can be exploring the idea of how civilizations are remembered cosmically.

>In studio or on the beach
studio, that is not sand

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I've posted similar ones to this in the past, but this is the final version. The scan for this one is much better and I finally came full circle and just printed the base. I printed it hollowed out and filled the thing with acrylic resign to give it weight. I might fill future ones with tungsten powder.

>>2995512
>>2995519
This will be in that future show as well.

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>>2995512
Naw homie, a statement isn't necessary. It's clearly about how the 2001 Monolith abducted bugs then accelerated their evolution then threw them into the distant future so humans would have an enemy to spur it's technological ingenuity so we could travel to the stars and Murph could invent a black hole so the Monolith would know it succeeded and sink below the sands like T2. If you look closely, you will even see a "thumbs-up".

But seriously, I like your pics NatureGuy

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Just goofing around with these two. I enjoy them but don't really need to use them for anything. That applies pretty much to all the photos except for the op. The photos of the sculptures are for sharing online and obviously would not be shown in lieu of the sculptures.

Interestingly enough the sculptures are photo derived. They're models of real things created through photogrammetry, eg they're a 3D photo printed in 3D.

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>>2995507
I don't think the shallow DoF helps this, fwiw. it makes it look small.
it looks less 2001 and more like a random freeze frame from the moon landing
>>2995509
sky looks like shit
>>2995513
really like the overall scheme of this, the focus blur right at the neck and background is a little strong but I think it's OK
>>2995524
really cool print. the shadow at LL is a little awkward and I think the top of the sculpture goes out of focus. Light is a little washed out above the head and the edges could use more definition up top IMO
>>2995526
how big is this thing?

>>2995537
ennnng you're right on the mantis bust issues but it would be pretty big pain retake it. I dropped it off at the gallery last week. The bust is 11.5" and the head is 8" wide.

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self portrait, needed one for a submission

Lighting could be better but it hard to get it just right when shooting yourself and I was in rush to meet a midnight deadline. I never really post the people work I do here. I just don't feel very comfortable posting pictures of people I know on 4chan.

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>>2995519
Remnants is cool. Dig the idea. Had no idea how hardcore mantis were. Motherfucker.

>>2995524
Pretty cool. So you 3d imaged and printed from that? Can you image anything?

>>2995543
>I just don't feel very comfortable posting pictures of people I know on 4chan.
You don't trust us?
Are you ashamed of us?

>>2995543
better looking than 90% of /p/

>>2995540
>11*8
sweeeeet

>>2995543
the biggest flaw is the distracting wrinkle at LR
hair could also use some more definition
basically good though, a bit puffed up but they'll eat that up

>>2995507
>>2995508
I'm assuming the black cube are 3D printed but is that obsidian or onyx in >>2995535?

>>2995544
>Can you image anything?
kind of. Like doing insects is a huge headache. Stuff that is table top sized is easy and people sized is doable. Larger I don't have any experience with but people do it. There's a whole host of problems with the process still. There's all sorts of crap that the program thinks that is there that isn't that you have clean up. It also can't handle transparent or reflective surfaces nor does it handle anything that doesn't get silhouetted with any finesse. Generally more pictures and angles can help with this (EG 200+) but it's really really really boring to do. I'm making a little machine that will do most of it automatically. If I can get this work I'll expand on it to do focus stacking as well which will improve scan quality.

>>2995545
I doubt most of my models would like to be posted on 4chan is the reason.

>>2995550
Shit nevermind, with the angle and lighting, it looks like a claw poking out of the sand.

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>>2995550
It's the same marble cube in all the pictures, same as this one. I have no idea what it is. I picked it up a geology expo in town for pretty cheap.

I have used models that were 3D printed in photos before but I'm pretty lazy and bad at 3D modeling so I don't use as many as I should. I picked up a book on blender but it's hard to make myself go through the lessons.

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>>2995551
so you need to have hard edge lights and be able to do images 360 around the object on one axis at least? I'm envisioning imaging a full auto and post ban lower from an AR-15 and then image the model and reprint and so on until there is degradation down to the point where the legal and illegal lowers match, to show how small a difference that makes in regards to the machining of the firearm.

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>>2995561
No soft even light is essential. For smaller things it's easiest to rotate the object and have white back drop. You put a light on the backdrop and blow it out so only what you are modeling is in the photo. For imaging gun parts it is way way way easier to just make from scratch. The program will not give clean surfaces but rather pebbled surface. Unless of course you don't want to actually work then yeah go right ahead.

Here's what the head looked like in the scanning program (agisoft in this case). Let me see if I can find a scanning shot from a prosthetic I made for a goat.

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>>2995556
Ok, thanks. Reminds me of that SCP entry of the dangerously platonic granite cube.

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So here's the capture and modeling for the just the cast for the prosthetic. I did this with a black background which as you can see cause some crap to show up randomly above it. This where the program things it found something so make something up or it can't figure out positioning and the whole process has to be redone or masked by hand. Masking even a 70 photo capture makes you want to kill yourself. If you look at the base you can it's completely jacked up because it was piece of uncoated plastic. It was just covered in reflections which made the program LOLWAT when trying to figure out its shape.

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Here's what the capture session looked like.

>>2995570
> SCP
>> dangerously platonic granite cube
LINK IT

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>>2995574
http://www.scp-wiki.net/scp-5308-j

>>2995507
>>2995508
Gay as fuck.


Just kidding I saved this shit

>>2995509
This one's lit AF

>>2995543
you look like that stuck up guy from Frasier

wudd fugg

>>2995543
literally a patrician.

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The most compelling quality of the work ITT is the denial of mimesis. Ur certainly checking a lot of the boxes for a modern practice of pictorial photography. In any case I have two more or less random thoughts:

A)
The figure of the mantis ineluctably evokes the conceptual legacy of surrealism (in Caillois, Bataille, Dalis, etc.). Its visual presentation evokes the style of science fiction. Although like surrealism sci-fi too is a rather historicized category; it's not nearly as pure or innocent (i.e. as aesthetically autonomous) a "visual language" as your images seem to conceive of it. The fact that your cube-shaped "monolith" was a locally found, indeterminate object sort of illustrates this point, in that its rarefied presentation in the images represses all the preexisting conditions that determined its specific appearance as such; in short, it's an issue of fetishism--not of eradicating fetishism, which is obviously impossible, but of clarifying the relative intensity and function of the object-fetishes in your pictures: on the one hand the mantis is the locus of a subjective identification, and on the other the sci-fi backdrop is universalized as a naturalizing frame. So it's a problem of negotiating between the values (formal, historical, political even) which are accorded to each of them in the images, and the extrinsic factors which create these meanings. Do some things have to be obscured/occluded for the figurative contents of the pictures to make sense? It kind of seems that way, doesn't it? The two projects you've referenced ITT seem to recast the unconscious (in its more bataillean sense) as the cosmos, reconfiguring its repressed primal urges as an inscrutable alien agency. There is a tradition for this kind of shift, of course, in science fiction like J.G. Ballard.

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>>2995908
But it ultimately resolves as a tension between the teleological progression implied by notions of cosmic encounters with alien civilizations (a teleology which in sci-fi applies explicitly to technology but just as readily applies in the realm of art/aesthetics to *form*), and the irrational, primordial formlessness of the materialist philosophy whose protagonist was the (acephalic, headless) mantis. Historically speaking, this is a tension between two modes of modernism; the futuristic romanticization of modernity's developmental forces viz. the ultimate perfectibility of human reason, and the primitivist obsession with modernity's inherent, seemingly unavoidable violence and self-destruction. (This all relates to a formal problem, which is that the unfamiliar visual environment on which the images depend (denying the eye a readily recognizable resting place, a coherent and self-enclosed interpretive framework) rests on a conventional techno-futuristic aesthetic of light and mirrors (this is exacerbated by the vague resemblance your stage sets have to a scientific laboratory filled with high-tech equipment). This--the construction of your settings--is an area that imo could be improved. That said I think that ur use of lighting--in low-key scenes with high-contrast, precise illumination--is very good.)

>>2995908
So has anyone ever posited that you're actually just an educated schizophrenic?
It's a known problem in the art world. Madness obfuscatia.

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B)
Here's my overall/schematizing read: In "lost" you disrupt the mechanism of mimesis between the mantis and its environment in order to isolate or restitute the visual from its subordination to and subsumption within form in the context of the (inherently anthropomorphic) genesis of subjectivity. This depends on a relationship between two modes of mimesis--iconic semblance versus analogical likeness; however you obscure these precise terms and articulate the relationship as one between two senses of the non-human: a "lesser," inhuman quality of the mantis as a primordial life-form, and the "more-than-human" quality of the alien subject of an intergalactic civilization. (Generally speaking, in regards to the motive of your work your statement could benefit from being made less ambiguous. The poetic parts need more polishing in order to sound less hackneyed. Also, I'd say that on a *visual* level mimicry isn't such a clear cut 'loss of identity' as the statement suggests--for at the same time as mimesis entails a loss of distance between subject and object, it produces a figurative difference between the self undergoing mimesis and the other who observes them. It is precisely this visual differentiation that is recuperated by the self in order to sustain the abstract sense of their individuality by rendering them autonomous from their surroundings. Incorporating the viewpoint of the other creates the conscious fantasy (in a psychoanalytic sense, the reference to psychoanalysis here being legitimated by the historical associations of the mantis) of self-sufficiency and wholeness.)

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>>2995913
These two modes of mimesis comprise an anthropomorphizing distinction: humans read real traces as being false, i.e. overdetermined, in order to isolate themselves from the environment as discrete subjectivities; animals present false traces as though they were real, i.e. immediately and concretely indexical, in order to be a part of the environment (the mantis behaves such that it is mistaken for something like a leaf or twig by its prey). The formal distinction is that the former is a function of the triumph of visual semblance over objective likeness in the competition for presence, that is, for what will count as reality; the latter, vice versa, in that functional similarity triumphs over abstract affinity in the constitution of the subject's experience of reality. If you haven't already, you should look up the tale of Zeuxis and Parrhasios..

>>2995911
Writing down my train of thought takes enough effort as it is. As if I'm going to spend even more time editing it into something utterly sound and coherent...

>>2995908
>>2995910
>>2995913
>>2995919
/p/ is not your personal blog you weeb faggot

>>2995908
You're readying far to much into the obscuring of form. Obscuring form is practical and builds on existing science-fiction etymology. One of the great rules in horror and sci-fi is to leave as much to the imagination as possible. To describe visually or with words to a great extent opens the subject to too great a scrutiny to ever be able to stand on it's own. Visually hint at your intent and let the viewer fill in the gaps. It's enjoyable, workable, and satisfying.

>(this is exacerbated by the vague resemblance your stage sets have to a scientific laboratory filled with high-tech equipment)
I'm completely missing this and wondering where you are getting this particular impression. The visual aesthetic I'm intending is a merger of Roman Republic and a version darker the Eloi (HG Wells Time Machine) without the degradation of self or the separation of cannibalism into a whole new separate idiot race.

>>2995913
I'm relying too much on viewer knowledge then. There's far more mimicry going on for the mantis then just visual when they are within their natural surrounding. For some mantises their mimicry surpasses that which they are a mimic of. The Orchid Mantis for example is such a successful flower mimic that pollinators prefer it to real flowers. The artist statement for lost is written to build off the one from portraits which begins with a quote the helps solidify the position on mimicry:

“The life of any organism depends on the possibility of its maintaining its own distinctness, a boundary within which it is contained, the terms of what we could call its self-possession. Mimicry Caillois argues, is the loss of this possession, because the animal that merges with its setting becomes dispossessed, derealized, as though yielding to a temptation exercised on it by the vast outsideness of spaces itself, a temptation to fusion.” — Corpus Delicti, Rosalind Krauss

>>2995943
>You're readying far to much into the obscuring of form.
Since my position/reading was more conceptual and iconographic than formal, I don't think I was taking too many liberties. These are the exact issues that someone like Krauss would fix on immediately upon seeing your work, anyway.

>There's far more mimicry going on for the mantis then just visual when they are within their natural surrounding

I wasn't trying to imply anything to the contrary. In fact that's the point--that mimicry in the animal realm, according to Caillois, whose argument I borrow, is far less visual (in the sense of resemblance) than it is formal. See Zeuxis and Parrhasios, in particular Lacan's gloss of it. Krauss has also written about it in "the optical unconscious," I am fairly certain.

>where you are getting this particular impression

Now, this was a purely formal reading on my part. I was considering the materials used when I wrote the above, mainly the pillars which look like glass or plastic, and the horizontal surfaces that look hard and reflective, like polished countertops. Pillars and colonnades are a common/popular enough architectural form that I'd say linking them directly to the roman empire is itself something that requires additional qualification.

>and a version darker the Eloi (HG Wells Time Machine)
How exactly does the translation of a literary source into a visual aesthetic work (or is supposed to work) in this instance? I'm not being critical, this particular fact just seems very interesting to me. I assume that the previous representations of Wells' work in film and such must play some sort of intermediary role here. In terms of cultivating the familiarity of the aesthetic you want the audience to recognize, I mean.

Looking back over the images in 'lost,' the horizontal, stacked marble (?) slabs obviously resonate with temple architecture, though i'd be hard-pressed to differentiate between greek and roman as the intended object of reference here.

Also, another possible reason why I thought of a laboratory was the fact that some of the images seem unambiguously small-scale, i.e. it would be hard to sensorially confuse them for the human-sized architectural environment that they can be understood to represent. And which most of the images *do* present on a sensory level. Maybe I just don't like the pillars/cylinders you're using?

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>>2996403
>>2996395

tasty.

>>2995952
>someone like Krauss
I'm going to be honest and say that I found about a page of corpus delicti useful. The rest made me question having eyes. A classmate turned me on to that passage which is the only reason why I read it. Generally I genuinely despise modern and post modern philosophy and go out of my way to avoid it. One of my great regrets in art is ever having had to read Susan Sontag.

>linking them directly to the roman empire is itself something that requires additional qualification
This is a shit qualification but I'm sitting on a pile of sketches to be made photos as I wait to build the finds for supplies. There's a series of buildings that will more closely tie it to that style of architecture and the busts will also help set to the tone.

>How exactly does the translation of a literary source into a visual aesthetic work (or is supposed to work) in this instance?
It's not something I would bring up in the artist statement but would be used as a working theme and idea I'm interested in plowing through. Most the world will be clearly devoid of industry (with the exception of food gathering and giving by machine) and clearly free of all real terrestrial threats other than the other mantids.

>I assume that the previous representations of Wells' work in film and such must play some sort of intermediary role here.
It does not directly with the exception of some of the visual trickery that was used in older versions of those films to create their special effects. I am not after the visual aesthetic but more interested in the concepts.

>>2997843
>Generally I genuinely despise modern and post modern philosophy and go out of my way to avoid it. One of my great regrets in art is ever having had to read Susan Sontag.

NG confirmed for based.

>>2995519
>So I can rely on existing science fiction visual language to help provide a context that can be shown and not told. That is, the scene can be taken as a snow or lunar-esque dust that when paired with the obelisk clearly places it outside of earth. When paired with the mantis (established as an alien other in a past show) it will help transition the conversation of the show I'm working on. The long short of that show can be exploring the idea of how civilizations are remembered cosmically.
tl;dr you're extremely pretentious.
>>2995543
damn dude you aged bad these last 8 years
>>2995908
>>2995910
that's a lot of words to digest but unfortunately they're sadly not even close to being as stunning as 2001 was when it came out in ....?

tryhard garbage. if you have to explain art, it's not art.

>>2997881
>they're sadly not even close
by which I mean the photos which make it seem like this self-indulged moron hasn't bothered the read the tomes of info available on the internet about how 2001 and A New Hope was shot.

>>2995519
Have you considered getting someone to proofread your site?

Love what you're doing. The etymology and artificial landscape pages are particularly excellent.

Real landscapes could use some curating, mostly because there's some uplifting stuff in there that doesn't fit the mood of the rest of the site.

Also, If you have a version of >>2995507 with more mantis iD be very interested in seeing it.

Fascinating stuff OP, and good luck!

>>2995519
>http://www.reagandpufall.com/lost-1/
>vimeo
>dat dog
>dat living room with piano

I'm jealous. I think more about the dog than anything else.

>>2996395
>>2995507
personally Im really loving the approach you are taking on the subject. However these to pictures when enlarged show clearly how small the photographed area is though either the depth of field or the size of the sand or the mantis thingy. I would try to work on pictures which look less like mark shoots especially since these shoots are kinda supporting the idea of the environment for the series. I would try to tilt the perspective in post and maybe do some focus stacking if needed. >>2995508
I feel this picture shows very clearly that a different perspective might be more suitable for the scene. the original size of the objects seem much harder for me to spot then in the pictures above.

Keep working from there I think you are really close to producing something amazing.

>>2997951
>Have you considered getting someone to proofread your site
yeah.... I'm pretty terrible about that shit which is bad of me

>Real landscapes could use some curating, mostly because there's some uplifting stuff in there that doesn't fit the mood of the rest of the site.
Honestly this stuff is last the hold over stuff from before getting focused on fine art. I really ought to just take them down and occasionally I do but I always end up putting them back up.
>more mantis
unfortunately no. The arm and head are all that's actually there. Like it's a disembodied head I had laying around from capturing the files for >>2995526 and the arm is the same thing. I don't have a picture of the arm because like an idiot I didn't document the piece before dropping it off. Like, it's literally a head on nail soldered onto a dime.
>>2997957
I forgot that was up. Yeah that's from when I chilling at my parent's house. Bree has since figured where the ball goes when I throw it now.

>>2998013
>more mantis
I really ought to start doing it but I hate the process of doing focus stacking so much. In the case of some of the images it's practical to blur out certain details. Like >>2996407 is a prime example of that. The clouds very much become cotton when in focus.

>>2995546

Pfft... name the other 10% that are more gorgeous than this stud muffin. What's that? Can't?

I believe you had a 10% margin of error.

>>2996395
>>2996403
these ones I like more than anything else here
>>2996407
this make much more sense in the 50s sci fi context than the earlier ones you posted. why no mantis here though?

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>>2996395
thank u

>>2998365
Wrong scale and while a similar scene this will fit in with artificial landscapes. The similarities between the three sections of work is a problem I am having.

>>2999846
>Wrong scale
the scale is kinda fucked on all of them. if you have a problem with the fake clouds... maybe you could blur them in post?

you realize that the whole "fake tilt-shift miniatures" thing works because human eyes are instantly able to recognize that photos like yours with tiny DOF are literally miniatures? your own eyes have no DOF when you get as close to small things as your camera is in these photos. the failure of your photos is hardwired into our brains

>>2995508

even when the DOF isnt miniature like (thin), it still looks "small". for someone that has been doing those type of sets for so long, you havent managed that part very well. your lightning looks very basic too. id say it ruins lots of shots.

Bump. Hitting the studio and dont want this thread quite yet

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Bumping before another shit tier what camera should I buy idiot knocks this off the board

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Here's what I've been working on this week. I built a little device that someone had directions for up on instructables that automated the worst part of photogrammetry and drastically reduced the time I have to spend fixing shit in the 3D file. Here's the first model from it. The device in question simply rotates the object and takes the photos for you. Since it is way more consistent than me doing it by hand and way less effort it makes takes way more photos more practical. I'll post a picture of it in a second.

>>3007016
thanks

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>>3007490
>>3007491
very cool. would this work on my benis??

>>3007501
Yes.

Though honestly just buying a silicone mold kit would be better.

>>3007506
i want to send dic pics tho

>>3007509
>in the future instead of pics we will send exact 3D-printable models of our genitalia to each other

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>>2995507
Haven't seen you in a while!
Always wanted to ask you to share your postprocessing routine. Any tips and tricks? Have you learned it yourself? Maybe you can recommend some books on that topic?

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Up

>>3007506
wait what
it would only work if he cut his benis off and put it on top of that platform
why are you telling lies on the internet

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>>3007513
I generally run stuff through lightroom and then if I care about it do additional work in photoshop. Work flow pretty much follows the order that it goes from top to bottom in lightroom. Some work on the color, bring down the lights lights, adjust the blacks as needed, and lens correction if needed. Then I open it in PS and using luminosity masks to bring down the upper tones. Occasionally I'll use a solid color set to soft light and adjust the opacity to add a color cast but this is relatively rare.

I picked this all up ad hoc over the years from reading and watching various blogs and feeds. I didn't any of this from some single book or class unfortunately.

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>>3008039
Also, take a gander at virginia frances sterret

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>>3009185
Thanks!!

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>>3009186
Me too but the pic I've posted was illustration to Peer Gynt by A. Rackham.