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photojojo: How Street Photography Can Turn into Astrophotography In his Planet Universe series, Adam Kennedy uses a little editing to transform rusty old fire hydrants into his own celestial bodies.  We asked Adam about his process. Here’s what he told us! I normally just photograph the rusty hydrant from several different angles, because many times I can make two to three planets from one. I try to let each hydrant guide the process, because the thing that makes the planets interesting is the idea that they are reflections of natural processes on earth, making use of digital manipulation simply to highlight that fact. I have tried this process with many objects other than fire hydrants, but they often do not work very nicely. For example many wooden banisters have round wooden tops, but the rusty metal orbs are just so perfect because there are such clearly defined areas for the land and sea. The fact that the darker rusty regions lend themselves to deep blue oceans makes me feel fortunate that this city (San Francisco) has such peculiar fire hydrants, and what would seem to be a shortage of white paint. via Psfk
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photojojo: How Street Photography Can Turn into Astrophotography In his Planet Universe series, Adam Kennedy uses a little editing to transform rusty old fire hydrants into his own celestial bodies.  We asked Adam about his process. Here’s what he told us! I normally just photograph the rusty hydrant from several different angles, because many times I can make two to three planets from one. I try to let each hydrant guide the process, because the thing that makes the planets interesting is the idea that they are reflections of natural processes on earth, making use of digital manipulation simply to highlight that fact. I have tried this process with many objects other than fire hydrants, but they often do not work very nicely. For example many wooden banisters have round wooden tops, but the rusty metal orbs are just so perfect because there are such clearly defined areas for the land and sea. The fact that the darker rusty regions lend themselves to deep blue oceans makes me feel fortunate that this city (San Francisco) has such peculiar fire hydrants, and what would seem to be a shortage of white paint. via Psfk
Zoom
photojojo: How Street Photography Can Turn into Astrophotography In his Planet Universe series, Adam Kennedy uses a little editing to transform rusty old fire hydrants into his own celestial bodies.  We asked Adam about his process. Here’s what he told us! I normally just photograph the rusty hydrant from several different angles, because many times I can make two to three planets from one. I try to let each hydrant guide the process, because the thing that makes the planets interesting is the idea that they are reflections of natural processes on earth, making use of digital manipulation simply to highlight that fact. I have tried this process with many objects other than fire hydrants, but they often do not work very nicely. For example many wooden banisters have round wooden tops, but the rusty metal orbs are just so perfect because there are such clearly defined areas for the land and sea. The fact that the darker rusty regions lend themselves to deep blue oceans makes me feel fortunate that this city (San Francisco) has such peculiar fire hydrants, and what would seem to be a shortage of white paint. via Psfk
Zoom
photojojo: How Street Photography Can Turn into Astrophotography In his Planet Universe series, Adam Kennedy uses a little editing to transform rusty old fire hydrants into his own celestial bodies.  We asked Adam about his process. Here’s what he told us! I normally just photograph the rusty hydrant from several different angles, because many times I can make two to three planets from one. I try to let each hydrant guide the process, because the thing that makes the planets interesting is the idea that they are reflections of natural processes on earth, making use of digital manipulation simply to highlight that fact. I have tried this process with many objects other than fire hydrants, but they often do not work very nicely. For example many wooden banisters have round wooden tops, but the rusty metal orbs are just so perfect because there are such clearly defined areas for the land and sea. The fact that the darker rusty regions lend themselves to deep blue oceans makes me feel fortunate that this city (San Francisco) has such peculiar fire hydrants, and what would seem to be a shortage of white paint. via Psfk
Zoom

photojojo:

How Street Photography Can Turn into Astrophotography

In his Planet Universe series, Adam Kennedy uses a little editing to transform rusty old fire hydrants into his own celestial bodies. 

We asked Adam about his process. Here’s what he told us!

I normally just photograph the rusty hydrant from several different angles, because many times I can make two to three planets from one.
I try to let each hydrant guide the process, because the thing that makes the planets interesting is the idea that they are reflections of natural processes on earth, making use of digital manipulation simply to highlight that fact.
I have tried this process with many objects other than fire hydrants, but they often do not work very nicely. For example many wooden banisters have round wooden tops, but the rusty metal orbs are just so perfect because there are such clearly defined areas for the land and sea.
The fact that the darker rusty regions lend themselves to deep blue oceans makes me feel fortunate that this city (San Francisco) has such peculiar fire hydrants, and what would seem to be a shortage of white paint.

via Psfk

photojojo: Phillip Stearns electrocutes unexposed instant film with 15,000 volts. He also pours various household chemicals (like bleach) onto the prints to make the colors and corrosion you see. The process is about as beautiful as the end result. You can watch how it’s done here. We asked Phillip a few questions about his process: What inspired you to apply electricity to film as opposed to just chemicals?  My explorations were guided most by what materials I had available. A big batch of this instant color film was being thrown out, presumably by a photographer in my building transitioning out of analog film. Two years ago, I received a batch of neon tubes and high voltage ballasts to drive them. After tinkering with interrupting the process of developing the film (after exposing to light) and discovering the painterly qualities such physical manipulations produced, I started to think about how else I work with the film. Through experimenting with digital cameras a couple of years prior to these experiments in film, I became aware of Hiroshi Suigimoto’s work of subjecting photopaper to electric discharges and thought that I could try something similar with the neon ballasts and the color film itself. How did you go about making sure your process was actually safe to do? I caution, again, this is not safe. No one should try this on their own, unless assisted by a qualified electrician trained in dealing with high voltages, and a physician. Death by electrocution is quite real. Any other tips or comments you have for photographers who want to explore analog or digital experiments? Look at what you have around you.  Use it differently.  Look for potentials that exist just beyond, hidden within the normally prescribed perception of things.  Play, but be smart about it.  Be safe. Film Electrocuted with 15,000 Volts of Electricity
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photojojo: Phillip Stearns electrocutes unexposed instant film with 15,000 volts. He also pours various household chemicals (like bleach) onto the prints to make the colors and corrosion you see. The process is about as beautiful as the end result. You can watch how it’s done here. We asked Phillip a few questions about his process: What inspired you to apply electricity to film as opposed to just chemicals?  My explorations were guided most by what materials I had available. A big batch of this instant color film was being thrown out, presumably by a photographer in my building transitioning out of analog film. Two years ago, I received a batch of neon tubes and high voltage ballasts to drive them. After tinkering with interrupting the process of developing the film (after exposing to light) and discovering the painterly qualities such physical manipulations produced, I started to think about how else I work with the film. Through experimenting with digital cameras a couple of years prior to these experiments in film, I became aware of Hiroshi Suigimoto’s work of subjecting photopaper to electric discharges and thought that I could try something similar with the neon ballasts and the color film itself. How did you go about making sure your process was actually safe to do? I caution, again, this is not safe. No one should try this on their own, unless assisted by a qualified electrician trained in dealing with high voltages, and a physician. Death by electrocution is quite real. Any other tips or comments you have for photographers who want to explore analog or digital experiments? Look at what you have around you.  Use it differently.  Look for potentials that exist just beyond, hidden within the normally prescribed perception of things.  Play, but be smart about it.  Be safe. Film Electrocuted with 15,000 Volts of Electricity
Zoom
photojojo: Phillip Stearns electrocutes unexposed instant film with 15,000 volts. He also pours various household chemicals (like bleach) onto the prints to make the colors and corrosion you see. The process is about as beautiful as the end result. You can watch how it’s done here. We asked Phillip a few questions about his process: What inspired you to apply electricity to film as opposed to just chemicals?  My explorations were guided most by what materials I had available. A big batch of this instant color film was being thrown out, presumably by a photographer in my building transitioning out of analog film. Two years ago, I received a batch of neon tubes and high voltage ballasts to drive them. After tinkering with interrupting the process of developing the film (after exposing to light) and discovering the painterly qualities such physical manipulations produced, I started to think about how else I work with the film. Through experimenting with digital cameras a couple of years prior to these experiments in film, I became aware of Hiroshi Suigimoto’s work of subjecting photopaper to electric discharges and thought that I could try something similar with the neon ballasts and the color film itself. How did you go about making sure your process was actually safe to do? I caution, again, this is not safe. No one should try this on their own, unless assisted by a qualified electrician trained in dealing with high voltages, and a physician. Death by electrocution is quite real. Any other tips or comments you have for photographers who want to explore analog or digital experiments? Look at what you have around you.  Use it differently.  Look for potentials that exist just beyond, hidden within the normally prescribed perception of things.  Play, but be smart about it.  Be safe. Film Electrocuted with 15,000 Volts of Electricity
Zoom
photojojo: Phillip Stearns electrocutes unexposed instant film with 15,000 volts. He also pours various household chemicals (like bleach) onto the prints to make the colors and corrosion you see. The process is about as beautiful as the end result. You can watch how it’s done here. We asked Phillip a few questions about his process: What inspired you to apply electricity to film as opposed to just chemicals?  My explorations were guided most by what materials I had available. A big batch of this instant color film was being thrown out, presumably by a photographer in my building transitioning out of analog film. Two years ago, I received a batch of neon tubes and high voltage ballasts to drive them. After tinkering with interrupting the process of developing the film (after exposing to light) and discovering the painterly qualities such physical manipulations produced, I started to think about how else I work with the film. Through experimenting with digital cameras a couple of years prior to these experiments in film, I became aware of Hiroshi Suigimoto’s work of subjecting photopaper to electric discharges and thought that I could try something similar with the neon ballasts and the color film itself. How did you go about making sure your process was actually safe to do? I caution, again, this is not safe. No one should try this on their own, unless assisted by a qualified electrician trained in dealing with high voltages, and a physician. Death by electrocution is quite real. Any other tips or comments you have for photographers who want to explore analog or digital experiments? Look at what you have around you.  Use it differently.  Look for potentials that exist just beyond, hidden within the normally prescribed perception of things.  Play, but be smart about it.  Be safe. Film Electrocuted with 15,000 Volts of Electricity
Zoom

photojojo:

Phillip Stearns electrocutes unexposed instant film with 15,000 volts.

He also pours various household chemicals (like bleach) onto the prints to make the colors and corrosion you see. The process is about as beautiful as the end result. You can watch how it’s done here.

We asked Phillip a few questions about his process:

What inspired you to apply electricity to film as opposed to just chemicals? 
My explorations were guided most by what materials I had available. A big batch of this instant color film was being thrown out, presumably by a photographer in my building transitioning out of analog film. Two years ago, I received a batch of neon tubes and high voltage ballasts to drive them. After tinkering with interrupting the process of developing the film (after exposing to light) and discovering the painterly qualities such physical manipulations produced, I started to think about how else I work with the film.

Through experimenting with digital cameras a couple of years prior to these experiments in film, I became aware of Hiroshi Suigimoto’s work of subjecting photopaper to electric discharges and thought that I could try something similar with the neon ballasts and the color film itself.

How did you go about making sure your process was actually safe to do?
I caution, again, this is not safe. No one should try this on their own, unless assisted by a qualified electrician trained in dealing with high voltages, and a physician. Death by electrocution is quite real.
Any other tips or comments you have for photographers who want to explore analog or digital experiments?
Look at what you have around you.  Use it differently.  Look for potentials that exist just beyond, hidden within the normally prescribed perception of things.  Play, but be smart about it.  Be safe.

Film Electrocuted with 15,000 Volts of Electricity

ianbrooks: Humans After All: Daft Punk Art Show The coming of the new Daft Punk album may be the most important event in recorded human history thus far, a proper reception for the once and future alien robot DJ overlords. Showing at Gauntlet Gallery in San Francisco from May 18th through June 15th, we convene to pay tribute in the hopes that all of us around the world can get lucky one more time. Click on the pics for artist credit.
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ianbrooks: Humans After All: Daft Punk Art Show The coming of the new Daft Punk album may be the most important event in recorded human history thus far, a proper reception for the once and future alien robot DJ overlords. Showing at Gauntlet Gallery in San Francisco from May 18th through June 15th, we convene to pay tribute in the hopes that all of us around the world can get lucky one more time. Click on the pics for artist credit.
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ianbrooks: Humans After All: Daft Punk Art Show The coming of the new Daft Punk album may be the most important event in recorded human history thus far, a proper reception for the once and future alien robot DJ overlords. Showing at Gauntlet Gallery in San Francisco from May 18th through June 15th, we convene to pay tribute in the hopes that all of us around the world can get lucky one more time. Click on the pics for artist credit.
Zoom
ianbrooks: Humans After All: Daft Punk Art Show The coming of the new Daft Punk album may be the most important event in recorded human history thus far, a proper reception for the once and future alien robot DJ overlords. Showing at Gauntlet Gallery in San Francisco from May 18th through June 15th, we convene to pay tribute in the hopes that all of us around the world can get lucky one more time. Click on the pics for artist credit.
Zoom
ianbrooks: Humans After All: Daft Punk Art Show The coming of the new Daft Punk album may be the most important event in recorded human history thus far, a proper reception for the once and future alien robot DJ overlords. Showing at Gauntlet Gallery in San Francisco from May 18th through June 15th, we convene to pay tribute in the hopes that all of us around the world can get lucky one more time. Click on the pics for artist credit.
Zoom
ianbrooks: Humans After All: Daft Punk Art Show The coming of the new Daft Punk album may be the most important event in recorded human history thus far, a proper reception for the once and future alien robot DJ overlords. Showing at Gauntlet Gallery in San Francisco from May 18th through June 15th, we convene to pay tribute in the hopes that all of us around the world can get lucky one more time. Click on the pics for artist credit.
Zoom
ianbrooks: Humans After All: Daft Punk Art Show The coming of the new Daft Punk album may be the most important event in recorded human history thus far, a proper reception for the once and future alien robot DJ overlords. Showing at Gauntlet Gallery in San Francisco from May 18th through June 15th, we convene to pay tribute in the hopes that all of us around the world can get lucky one more time. Click on the pics for artist credit.
Zoom Info
ianbrooks: Humans After All: Daft Punk Art Show The coming of the new Daft Punk album may be the most important event in recorded human history thus far, a proper reception for the once and future alien robot DJ overlords. Showing at Gauntlet Gallery in San Francisco from May 18th through June 15th, we convene to pay tribute in the hopes that all of us around the world can get lucky one more time. Click on the pics for artist credit.
Zoom
ianbrooks: Humans After All: Daft Punk Art Show The coming of the new Daft Punk album may be the most important event in recorded human history thus far, a proper reception for the once and future alien robot DJ overlords. Showing at Gauntlet Gallery in San Francisco from May 18th through June 15th, we convene to pay tribute in the hopes that all of us around the world can get lucky one more time. Click on the pics for artist credit.
Zoom Info
ianbrooks: Humans After All: Daft Punk Art Show The coming of the new Daft Punk album may be the most important event in recorded human history thus far, a proper reception for the once and future alien robot DJ overlords. Showing at Gauntlet Gallery in San Francisco from May 18th through June 15th, we convene to pay tribute in the hopes that all of us around the world can get lucky one more time. Click on the pics for artist credit.
Zoom

ianbrooks:

Humans After All: Daft Punk Art Show

The coming of the new Daft Punk album may be the most important event in recorded human history thus far, a proper reception for the once and future alien robot DJ overlords. Showing at Gauntlet Gallery in San Francisco from May 18th through June 15th, we convene to pay tribute in the hopes that all of us around the world can get lucky one more time. Click on the pics for artist credit.

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