Imagine um círculo que contém todo o conhecimento humano:
Quando você completa o ensino básico, você sabe um pouco:
Quando você completa o ensino médio, sabe um pouquinho mais:
Com uma graduação, você sabe um pouco mais e ganha uma especialização:
Um mestrado te aprofunda naquela especialização:
Ler e estudar teses te leva cada vez mais em direção ao limite do conhecimento humano naquela área:
Quando você chega lá, você se foca:
Você tenta ultrapassar os limites por alguns anos:
Até que um dia os limites cedem:
Este pequeno calombinho de conhecimento que ultrapassou os limites é chamado de doutorado (Ph.D.):
Mas é claro que na sua visão de mundo fica diferente:
Mas não esqueça da dimensão das coisas:
Essa é a explicação que o professor Matt Might, da universidade estadunidense de Utah, utiliza todo ano para com seus alunos. Achei interessante e decidi compartilhar com vocês.
Like hairy aliens from another planet, these tiny spiders seem to stare with giant, all-knowing eyes into your very soul. Whether they possess otherworldly secrets or a desire to attack your face is open to interpretation. Regardless, photographer Jimmy Kong has done an incredible job capturing these intimate moments with diverse arthropods found in his native Malaysia. What you see here is just a taste of his macro work that also involves insects, reptiles and other creepy crawly things. See more on Flickr. (via the Colossal Flickr Pool)
Russian photographer Elena Shumilova only got into photography in early 2012, when she acquired her first camera. But if you were to look through her Flickr and 500px profiles, you would swear she had been doing it for much, much longer.
Her stunning photography revolves almost exclusively around photographs of her children and their animal friends on the family’s farm. Adorable children, animals and surroundings that already offer so much beauty to Shumilova’s lens combine into an enchanted world that is equal parts cozy and magical.
Speaking with Bored Panda, she explains that her photos are part intuition, part inspiration:
I largely trust my intuition and inspiration when I compose photos. I get inspired mainly by my desire to express something I feel, though I usually cannot tell exactly what that is.
Here’s a selection of Shumilova’s photography:
Shumilova told Bored Panda that she shoots the images during the day, so as to not miss out on time she could be spending with her children, and then edits the images at night. She also says that she prefers natural light, but loves “all sorts of light conditions – street lights, candle light, fog, smoke, rain and snow,” basically anything “that gives visual and emotional depth to the image.”
In order for the images to fit on the blog, we had to scale them down significantly, so if you like what you see be sure to head over to Shumilova’s Flickr and 500px profiles and browse to your heart’s content. Just make sure you have a warm blanket and some hot cider handy… these photos are likely to lull you into an extreme sense of coziness.
(via Bored Panda)
Image credits: Photographs by Elena Shumilova and used with permission.
Every airline flight in the world over 24 hours.
While vacationing on the Maldives Islands, Taiwanese photographer Will Ho stumbled onto an incredible stretch of beach covered in millions of bioluminescent phytoplankton. These tiny organisms glow similarly to fireflies and tend to emit light when stressed, such as when waves crash or when they are otherwise agitated. While the phenomenon and its chemical mechanisms have been known for some time, biologists have only recently began to understand the reasons behind it. You can see a few more of Ho’s photographs over on Flickr.
Just a cursory glance at a few storm photos by Mike Hollingshead and it’s clear this guy has probably seen it all, and probably put his life at risk to do so. The intrepid storm chaser has been enduring foul weather since the late 90s, clocking some 20,000 miles a year in his car as he stalks thunderstorms and other extreme weather occurrences waiting to capture the perfect shot. Hollingshead shares his story with Jakob Schiller over at Raw File, and you can see hundreds of his photos, many available for purchase as prints, over on his website. All images courtesy the artist. (via Raw File)
Peak District, 2013. Pencil on a contoured map of the Peak District. 47 x 35in (120 x 90cm)
Colorado Geological, 2013. Pencil on a geological map of Colorado, the first of a series of works exclusive to the Mike Wright Gallery in Denver, Colorado.
Bristol Envelope, 2013. A small portrait, produced in ink on an original street map of Bristol (UK) – this was later cut and folded to form an envelope, combining the current map works produced by Fairburn and a previous project—postal art.
Yr Ods EP Cover, 2013. Pencil on contoured maps showing parts of Wales, produced for Welsh Band Yr Ods.
Shrewsbury, 2013. Progress shot, ink on a street map of Shrewsbury.
Innsbruck, 2013. Ink on a contoured map of Innsbruck/surrounding area, 20 x 20in (52 x 52cm) approx. Lines of elevation have been followed with a pen, the width of each line has been altered accordingly to build the different tones.
Pontypridd, 2013. Pencil on a contoured map of Pontypridd, South Wales (UK).
Solihull, 2013. Progress shot of a past experiment in inks.
Using a wide variety of canvases including railroad blueprints, star charts, geological and street maps, Welsh artist Ed Fairburn (previously here and here) uses addative and subtractive techniques to create portraits that seem pefectly integrated with the topography of streets, mountains and rivers. It’s been almost a year since we last checked in with Fairburn whose process and approach to creating these stunning portraits continues to evolve. One of his most striking methods is to carefully follow map contours with a pen creating rows of lines that vary by width to create individual forms and shadows. The final portraits are so entwined with the map, it becomes hard to imagine one existing without the other.
“Either the memory of past bliss is the anguish of to-day, or the agonies which are, have their origin in the ecstasies which might have been.”
Certain types of literature readily invite gorgeous complementary artwork. Classic fairy tales, for instance, have attracted some magnificent illustrations over the centuries. But arguably the most haunting art for literary-literature is that accompanying the stories of Edgar Allan Poe. Nearly a century after Harry Clarke’s remarkable 1919 illustrations and shortly after the stunning graphic novel for Lou Reed’s adaptation of The Raven, French artist Benjamin Lacombe illustrated Poe’s Tales of the Macabre (public library) in his signature style of gentle, eerie, endlessly evocative large-eyed creatures.
The result is nothing short of bewitching.
The Lacombe-illustrated Tales of the Macabre is an absolute treat. Complement it with Italian graphic artist Lorenzo Mattotti’s take on The Raven.
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With an adept understanding of ceramics and anatomy, Hong-Kong based artist Johnson Tsang (previously here and here) creates strange and unexpected anthropomorphic sculptures where human forms seem to splash effortlessly through functional objects like bowls, plates, and cups. While the works shown here are mostly innocent and comical in nature the artist is unafraid of veering into more macabre subject matter in other artworks that grapple with war and violence.
Tsang recently opened a solo show, Living Clay, at the Yingge Ceramics Museum in Taiwan that runs through January 19, 2014. You can see many more pieces from the exhibition over on his blog where you can also catch a glimpse of works in progress.
Ever wonder why SD cards are dirt cheap? At the 2013 Chaos Computer Congress, a hacker going by the moniker Bunnie recently revealed part of the reason: “In reality, all flash memory is riddled with defects — without exception.” But that tidbit is nothing compared to the point of his presentation, in which he and fellow hacker Xobs revealed that SD cards and other flash storage formats contain programmable computers.
Bunnie also summarized his presentation in a relatively easy to understand post on his blog. The images I’m sharing here are from the slides (pdf) that he and Xobs used in their 30C3 talk. Here’s the full paragraph where Bunnie claims that flash memory is cheap because they’re unreliable: “Flash memory is really cheap. So cheap, in fact, that it’s too good to be true. In reality, all flash memory is riddled with defects — without exception. The illusion of a contiguous, reliable storage media is crafted through sophisticated error correction and bad block management functions…”
“…This is the result of a constant arms race between the engineers and mother nature; with every fabrication process shrink, memory becomes cheaper but more unreliable. Likewise, with every generation, the engineers come up with more sophisticated and complicated algorithms to compensate for mother nature’s propensity for entropy and randomness at the atomic scale.”
Simply put, Bunnie claims that flash storage is cheap (partly) because all chips made are used, regardless of their quality. But how do flash storage makers deal with faulty hardware? With software.
Apparently flash storage manufacturers use firmware to manage how data is stored as well as to obscure the chip’s shortcomings. For instance, Bunnie claims that some 16GB chips are so damaged upon manufacture that only 2GB worth of data can be stored on them. But instead of being thrashed, they’re turned into 2GB cards instead. In order to obscure things like that – as well as to handle the aforementioned increasingly complex data abstraction – SD cards are loaded with firmware.microcontroller, i.e. a very tiny computer. The microcontroller is packed inside a memory card along with the actual chips that store the data. Bunnie and Xobs then proved that it’s possible to hack the microcontroller and make it run unofficial programs. Depending on how cynical you are, that finding is either good news or bad news.
For their talk, Bunnie and Xobs hacked into two SD card models from a relatively small company called AppoTech. I wish I could say more about their process, but you can read about it on Bunnie’s blog…
Long story short, Bunnie and Xobs found out that the microcontrollers in SD cards can be used to deploy a variety of programs – both good and bad – or at least tweak the card’s original firmware. For instance, while researching in China, Bunnie found SD cards in some electronics shops that had their firmware modified. The vendors “load a firmware that reports the capacity of a card is much larger than the actual available storage.” The fact that those cards were modified supports Bunnie and Xobs’ claim: that other people besides manufacturers can manipulate the firmware in SD cards.
It’s worth noting that this particular investigation had an extremely small sample size. That being said, Bunnie believes that this vulnerability exists in “the whole family of “managed flash” devices, including microSD, SD, MMC as well as the eMMC and iNAND devices typically soldered onto the mainboards of smartphones and used to store the OS and other private user data. We also note that similar classes of vulnerabilities exist in related devices, such as USB flash drives and SSDs.”
Turns out the memories of our computers are as unreliable as ours.
I don’t have kids just yet, so I can’t say from experience, but it seems one of the benefits of having a child is the ability to feature the adorable little guy or gal in creative photography projects. Examples abound: from Queenie Liao’s wondrous naptime photos, to Nagano Toyokazu’s series My Daughter Kanna.
Now, another great project has popped up on our radar. This one is called Cardboard Box Office, and it’s the result of a parenting duo’s creativity, an excess of packing materials and the addition of a baby boy to the family.
Cardboard Box Office is the brainchild of parents Lilly and Leon, who recreate scenes from famous movies using only household objects and their incredibly cooperative baby boy Orson. The resulting photos are uploaded to their website and Facebook page where fans can follow along with the little family’s weekend adventures.
As they explain on the site’s about page:
The project began after finding that we had accumulated both a lot of cardboard boxes (due to moving to a new country) and a baby (due to giving birth). With our social lives drastically altered we decided to find a way to make some of those housebound weekends a little more fun.
When we got in touch with Lilly and Leon, they were kind enough to give us enough information that we thought it would be best to include it verbatim rather than abbreviating it. So below you’ll find some of our favorite Cardboard Box Office creations, as well as our little mini interview:
The Life Domestic
PetaPixel: How did you guys come up with this idea?
Cardboard Box Office: We came up with the idea when wanting to take a creative family photo that depicted the general mess and disorder of our new lives as parents. That photo was The Life Domestic (above). It proved to be really popular and made people laugh so we decided that since we were now at home a lot more, and had a lot of cardboard at our disposal, we may as well start creating a few more. And it went from there.
Goo-Goo Gaa-Gaa-Rassic Park
PP: How do you stay inspired? It can’t be easy to consistently come up with creative ideas.
CBO: It can be hard to come up with a film each week. Essentially they need to be films that have either an iconic set, costume, or vehicle. If it doesn’t have at least two of those elements it’s generally a no-goer. Action, adventure, and horror flicks are perfect. Lilly really wants to create a rom-com but we have yet to think of one that would make a good photo. Suggestions from readers are more than welcome!
We have certain rules that we have made for ourselves to keep with the homemade element of the photos. For instance, Photoshop can only be used to improve light and colours, and sometimes adding but not for manipulation of the image. Everything you see in the photos was created as you see it. We often use those old tricks of low angles and forced perspective to give an illusion of height and scale in what is quite a small living space. We feel that relying too heavily on Photoshop would defeat the entire purpose of the project.
“Houston, We Have a Poopy…”
“Yippee Kay-Aye, Mama ‘N Papa.”
PP: What kind of gear do you use? How do you set up each shot?
CBO: We use a Nikon D80. Our tripod is in storage in another country and we haven’t gotten around to buying a new one. So for every shot we have to use whatever is at hand to sit the camera on. This ranges from stacks of books, to coffee tables, to clothing racks. This can become infuriating and is probably an extra challenge we don’t really need. Hopefully we get a tripod for Christmas.
The Dark Knighty-Night
The Cradle of Doom
PP: It looks like your little one is a good sport, any challenges you’ve run across?
CBO: Orson is incredibly co-operative during the shoot. He does get a bit cranky sometimes but is only ever in the scene for about 5 minutes and is back to playing afterwards. In that time we reel off a handful of photos using either a timer or whoever isn’t in that week’s scene to be in charge of taking the photo. Due to the forced perspective complexity of Apollo 13 we had to take Orson’s and our photo separately and combine them afterwards. That photoshoot was a logistical nightmare. We learnt a lot from that. Mainly: don’t try and be too clever.
PP: What are your plans going forward?
CBO: Going forward, we are just going to keep doing what we’re doing every week until one of us cracks and says no more. We just hope it isn’t Orson. Without him we’re just an odd couple playing make-believe.
Homemade Alone, their most recent creation.
To follow the Cardboard Box Office family’s adventures, or if you have an idea for a movie scene you think they could recreate for the site, be sure to visit their website and follow them on Facebook. This one is worth a bookmark… at least until Orson ‘cracks and says no more.’
(via Laughing Squid)
Image credits: Photographs by Lilly and Leon/Cardboard Box Office and used with permission.
Nas grandes metrópoles os prédios não param de ficar cada vez mais altos. Agora junte os cenários urbanos ao olhar precioso de um fotógrafo. Foi o que fez o francês Romain Jacquet-Lagreze ao clicar esses momentos e reunir as imagens no livro Vertical Horizon,160 páginas. Porque tão lindo quanto olhar para cima e ver um belo céu é ter como moldura arranha-céus de tirar o fôlego.
Quando o artista mudou-se para Hong Kong o hábito de olhar para o alto começou a ser feito com mais frequência. “Sempre o pratiquei em florestas, mas aqui passei a ver os edifícios por outros ângulos. Aos poucos fui fotografando o que via e isso acabou por se transformar em um projeto”. Romain passou então a explorar muitas áreas da cidade até conseguir imagens de grande parte dos distritos.
Seu olhar sobre uma das cidades mais verticalizadas do mundo foi apelidado, por ele, de corrida arquitetônica para o céu. O trabalho reflete essa visão de competitividade no skyline de Hong Kong, mas também tem o objetivo de estimular a reflexão nas pessoas. “Nossas vidas são como edifícios: começamos de baixo, querendo alcançar o céu, mas para isso é fundamental criarmos bases sólidas”, conta Romain. Além disso, o francês quer chamar a atenção para os detalhes que passam desapercebidos devido à correria do dia-a-dia. Para ele existem muitos horizontes que não levam somente à luz no final do túnel, e o horizonte vertical é apenas um deles – talvez um dos mais belos.
Life and Donuts by Pablo Stanley
A fashion photographer’s job is, at its most basic level, to draw attention to the clothes he or she has been asked to photograph. But how does one make their fashion shots stand out when there are so many more out there, often bookending your own shoot inside the very magazine you’re featured in?
Montreal-based photographer Martin Tremblay (also known as Pinch) figured out a way to turn fashion photography on its head… he literally turned it on its head!
His Fortune Cookie series features gravity-defying upside down models dressed in finery created by Pascal & Jérémie. In this fictional world Tremblay has created, the model immediately draws the viewer’s eye because they are the one upside down occupant of a right-side-up world.
We doubt anybody flipping through Schön! Magazine — for which the editorial was shot — would gloss over these photos without stopping for at least a second:
The series debuted less than 2 weeks ago, but already it has earned Tremblay quite a bit of attention and will, we expect, continue to do so.
To see more of Tremblay’s work, head over to his website or Behance profile by clicking on the corresponding links. And if you’d like to see the series in context, you can flip through the entire Schön! issue in which it is featured by clicking here (Warning: Some of the other shoots featured in the magazine are most decidedly NSFW).
(via My Modern Met)
Image credits: Photographs by Martin Tremblay
There are selfies, and then there are self-portraits. Make no mistake, these are two very different things, in the same way that a photograph differentiates itself from a snapshot. So while the word ‘selfie’ might be in the midst of experiencing its 15 minutes of fame, it would be an injustice to call photographer Kyle Thompson‘s gripping self-portraits ‘selfies.’
Thompson, if you can believe it, is 21-years old and only got into photography at age nineteen. Plagued by anxiety his entire life, photography has become a sort of therapy, a way for him to express himself to the world… and the world seems to enjoy listening.
We’ve actually featured his work once before, but the majority of his photography actually doesn’t feature other people. The brunt of Thompson’s work consists of beautiful, striking and surreal self-portraits in which Thompson is bending reality to his will.
“I started taking self-portraits because I enjoyed going out alone,” Thompson recently told The Daily Beast. “It was easiest because I am always available and… I wanted some way to channel my emotions. I felt self-portraits were the most personal.”
His work is often set in abandoned houses or deep inside forests where he creates scenes of solitude that, on occasion, require that he set himself on fire. Here’s a look at some of our favorite shots from his portfolio:
We are certainly not the first to take notice of Thompson’s self-portrait work. When he posted it to Reddit last year, he earned himself over 3,000 upvotes and almost 2,000 comments; and his Kickstarter to raise money for a road-trip/photo book quickly raised more than twice its intended goal.
(via Resource Magazine)
Image credits: Photographs by Kyle Thompson and used with permission.
A portrait is a powerful thing. Programs like Help Portrait — which is dedicated to spreading joy, inspiration and hope by taking portraits of people who have never had one taken before — are easy proof of this. But just in case you find yourself in need of more proof, the If Only for a Second portrait project is here to provide it.
If Only for a Second is a project by the Mimi Foundation and Leo Burnett France with the stated purpose of “allow[ing] [cancer patients] to forget their disease, if only for a second.” It’s impossible for me, or anybody who has any first hand experience with cancer and/or cancer patients, to express just how important this is.
So, photographer Vincent Dixon brought together 20 cancer patients and offered them a free makeover with one condition: they had to keep their eyes closed while it was happening, so that the reveal could be as surprising as possible. What they didn’t know is that this wasn’t a typical makeover — they were being made-up in silly and funny ways… and when they opened their eyes, Dixon snapped their photo through a two way mirror to capture their reaction.
What is captured on the participants’ faces is a mix of surprise and joy that is bound to put a smile on your face as well:
The portraits were taken back in June in Brussels, but all 20 participants got back together last month at an event where the 60 page book of their portraits was revealed. You can find out more about the project and purchase the photo book for yourself — all proceeds go straight to the Mimi Foundation — by heading over to the If Only for a Second website here.
Image credits: Photographs courtesy of the Mimi Foundation