I was walking through the hot and humid streets of Bangkok one evening towards a market about 30 minutes walk from the room I was staying in. With the last bit of internet I had, I wanted to do a live stream to my Facebook to share the environment.
What happened was unexplainable. The footage distorted in a way I can only describe as stretching the environment. It was something I have never seen before, and unknown glitch. Here are the images…
I was turning my phone camera around in 360 degree motions but the orientation of the images would never respond to the orientation of the phone cameras position. It was very hard to position. At the same time it was a very fun experience. Excited by its uniqueness I started to take screen shots of the footage in order to take photos.
I was carefully focused on capturing in market and it’s lights. The stretched out road whilst making sure I was able to hit screen shot at the correct time the cars and buses were zooming past. But one of my favourite type of images that stood out to me where the bridge shots. As at first glance, they are hard to make out what is actually going on in the photograph and the also adds a sense of vertigo.
I wanted to have a go at editing these, to turn them as actual photos and potentially remove the live stream hud.
Unfortunately, due to the low quality and size of the images. I wasn’t able to pull and decent results from editing, and the ended up looking rather just like CCTV images. But it was worth a screenshot.
If only there was a way to trigger this manually for someone who actually desired this effect with a larger camera? I’m sure it can be done on photoshop but it was fun to handle the random effect live.
I decided to dive deeper into glitch photography, I found an artist called Sabato Visconti.
Sabato covers a range of different experimentation with photography including illustration and animation work…
“Sabato Visconti is a Brazilian multimedia artist currently based in Western Massachusetts. He was born in São Paulo, Brazil, and immigrated to the U.S. as an infant. Growing up in Miami, Sabato was the kid getting in trouble at school for drawing cartoons instead of doing classwork. He attended Amherst College, despite an unfavorable immigration status, and paid his way by selling imported pianos on eBay. Sabato graduated in 2009 with a degree in political science, along with some published biology research, and a two year stint as the resident photographer at the college co-op. As a working artist, Sabato has ongoing experience with commercial, film and photography production; print / web graphic design; as well as corporate management and brand art direction.” – Website
I went to the glitch photography section of his wide portfolio.
“Sabato’s work finds itself in the intersection between emerging media environments, internet culture, and professional digital production. He began experimenting with glitch processes in 2011 with the help of Cristina Isabel Rivera’s defective memory card that randomly wrote zeroes on JPEG files. His first databending experiments lead him to online glitch art communities, where he learned techniques and approaches to push the boundaries of photography and video. Sabato’s glitch photography has been published in Time, WIRED, AI-AP’s Latin America Fotografia Anthology; his traditional photography has been a Photographer’s Forum annual competition finalist for six years running; his work has been featured online on Giphy, Tumblr, Kill Screen, PetaPixel, and has been shown throughout the world in exhibitions for Tate Britain, LACDA, NewHive, and others.”
One of the works I thought was very creative and made use of modern technology to alter images was the snapchat filters used against magazines…
What I like about these is not where the face has gone, but where the face was and what remains. Many different forms could be made which alters the face adding inhuman personalities and masks. Something I’m interesting in taking practicing.
And one way I plan to do so is by using and continuing to evolve the edits I have created so far in my negative practice and using them against a subjects face.
One of Sabato’s pieces of work looked similar to results of my metallic layers…
I want to experiment this effect against portrait subjects more to express emotion and personality, In this image, I like how it only effects half of the face…
In my project proposal I stated that I will be comparing the happy and sad emotion in a portrait, side by side. In my next post I will be reviling this as I have recently completed this task, However in one of the images I decided to use edits I had created against the negative practice…
Not only did it create a ghost like glow, but it created the metallic look across half of the subjects face, similar to Sabato’s image. I believe this was due to the distinct lighting.
Sabato has also experimented in other ways which are in a similar tone.
This piece from Sabato’s ‘Jules in June‘ reminded of negative edits but with clever use of colour. This is a great example of using edits to express emotion. Not only does the subjects face look disappointed, but the edit style itself visually enhances the emotion of distress.
Finally, relating back to the unknown Facebook live glitch I experienced. Sabato’s ‘Lens Correction Studies‘ showed that he discovered a method that a result that is not identical, but its the closest I could find that relates so far.
“The images presented were created by exploiting a glitch in the Lens Correction Filter function in Adobe Photoshop CS6 that completely miscalculates barrel distortion and chromatic aberration values for RAW photographs shot on a Canon 5D Mark III. The glitchy Lens Correction Filters become further enhanced by an “edge extension” option that forces Photoshop to fill in the blank spaces created by the faulty algorithm.”
I enjoy glitch photography because it is appreciating something that is normally a nuisance. For example watching an internet video and it starts to pixel late. It’s about looking at whats happening in front of you in a different way. An artistic point of view.