Thank you for attending Imaging DNA 2011

“3DimensionMedia: @ImagingDNA Great conference today with a core group of intelligent creative artists . . .  March 26, 2011 at 06:40 PM”

“this event sounds awesome . . .  this sounds like the most relevant group of talks to our medium right now.” Professor of Art

“I just signed up for the upcoming conference and VIP luncheon; it sounds like a good source of information . . .” Associate  Professor of Photography

For enhanced access and discussion of R11 performance, use VIP registration.

Imaging DNA 2011 was held on March 26, 2011 in Pasadena, California at Art Center College of Design.  Art Center is a  leader in art and design education with a trans-disciplinary curriculum that explores socially responsible, creative and design-based solutions to real-world issues. We feel that this year’s Imaging DNA program was a great complement to that vision. The Imaging DNA program explored the artistic impact of one of the latest photographic devices to reach the market-the Raytrix plenoptic camera- as well as discussed the way photography and imaging technology is changing the creation and use of images for today’s students, professionals, and  educators.

The Role of “Computation” in Photography

Given the popularity of computational photography topics at Imaging DNA 2011 on March 26th in Pasadena, it was refreshing to find another blog post sharing my sentiments.  Located in Helsinki, Finland, Media Factory is a program that encourages collaboration and development in media-related research and education within the Aalto University.  Markku Nousiainen is Producer with Aalto University Media Factory and recently he has echoed views that we have published. The new voice is refreshing:

“Unlike in mainstream digital photography the results of algorithmic manipulation of camera data are often to some extent unpredictable. Computational photography is in this way reminiscent of the time of early photography and an invitation to artistic experimentation. The partly artificial or manipulated nature of the resulting images is in many cases visible – a seemingly faithful representation of reality is abandoned and our aesthetic preconceptions are challenged. For this kind of work, the Internet can be seen both as a giant repository of source images, and a platform for shared projects and shared code.

The work of an artist takes place in close connection to the digital medium and algorithms that are usually not as well-controlled as conventional photographer’s tools, leaving plenty of room for playfulness. What results is an interplay between artist and the medium, and oftentimes with an interactive format of presentation, that between audience and the artwork.”

The full post is here.

Can Holography Save the Darkroom?

I was speaking with an instructor who stated that “Analog photography embodies the soul of photography.”   I replied “I don’t doubt that, but digital photography has the money.”  That is not to say that a digital image is worth more or more worthy than an analog one it’s just that digital imaging is supported by multiples of people more.

As the popular use of analog photography has been slipping below the western horizon, the traditional photo darkroom/lab has been slipping down the priority of educational institutions.  It is getting tougher, as budgets become more constrained, for photography instructors to preserve the analog medium versus the convenience and efficiency of digital.

Can you inspire a new generation of darkroom users by using retro cameras?  Certainly, but can there be a way to save darkrooms and darkroom techniques by exploring areas not really investigated? What remains? How about holographic imaging? Holography never seemed to be fully explored as an artistic medium.  There are videos out that in a quirky way show a passion and an “in the garage creativity” that seems long gone from photography. Two are below:

Part One

Part Two

The materials are so bare bones, and while a laser is required, it seems so raw and low tech that it should be a fertile ground for artistic advancement.  The individualistic seat-of- the-pants creativity could once again raise the profile of the darkroom on the photo-education agenda. I think despite digital 3D, holographic technology has no direct equal in digital and could reset how the two relate. Perhaps photographic educators can have their cake and eat it too in rebooting analog’s heritage through looking toward holography as a means to inspire innovation and creativity.

Our featured blog series continues with Industry Voices.  Each week, CEOs, photographers and students will share their views on products, techniques and the future.  Check out previous entries here.