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Original author: 
Peter Kafka

Thanks to Quartz’s Zach Seward for jogging my memory about this oldie and goodie: Tumblr’s David Karp in a video interview taped in 2007, when he was 21, had 75,000 users and was talking about stuff like Digg, Flickr … and Twitter.

Karp’s interviewer is Howard Lindzon, who’s now known as the guy behind StockTwits. Assuming that the interview was taped close to the time it was published, it would have meant that the two men were talking as Karp was raising his first funding round of $750,000, led by Union Square Ventures and Spark Capital.

No need to say anything else:

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Peter Curet: Generative Origami (built w/ Modelbuilder)

Corrected: The 3D printed trophy is by Chevalvert.

I just found this by accident, and what a nice accident it was: Peter Curet took my Processing Paris Master Class back in March, and subsequently produced the above video of origami structures continuously being created and unfolding. Not only is a great piece, it was apparently built with Modelbuilder. (Soft rendering courtesy of joons-renderer, which plugs the Sunflow radiosity rendered into Processing.)

I guess I finally get to feel a fraction of the pride Karsten Schmidt must feel seeing people doing awesome things with Toxiclibs. Not that I’m anywhere near reaching the awesomeness of his Toxiclibs Community showreel, but it’s a very good start.

Not that Peter’s origami is the first time Modelbuilder is spotted in the wild. Last year Paris studio Chevalvert used it to produce this 3D printed trophy for a dance award, and Greg Borenstein’s O’Reilly book Making Things See demonstrates how to combine Modelbuilder with a Kinect.

Do you know of any other examples of Modelbuilder being part of a project that made it past the “Messy Sketch” stage and on to the next level of “Thing of Beauty”? Let me know: marius at mariuswatz com.

Better yet, post it to Flickr in the new Modelbuilder group I just created: http://www.flickr.com/groups/modelbuilder/.

Peter Curet: Conway Origami City

BLoc-D: IDILL 2011

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Size matters: Flickr's lightbox view now offers much larger images.

Yahoo is once again lavishing some attention on Flickr. Flickr has already launched a new photo uploader and a new photo editor in recent weeks, and now the site is making your images look even better with new, higher-resolution photo displays.

It’s been nearly two years since Flickr last redesigned its photo pages to display larger images. Since then screen resolutions have only improved, and when it comes to viewing photos you don’t have to be a pro photographer to know that bigger is better.

To make your uploaded images look better — especially when you’re browsing in fullscreen mode — Flickr is introducing two new photo sizes, 2048 and 1600 pixels.

Right now you’ll only see the new larger images when you enter Flickr’s “lightbox” view with its darker, photo-friendly interface (just click an image to enter lightbox view). At the moment the regular photo pages remain unchanged. However, the Flickr blog reports that the larger images will soon be available through Flickr’s API and “a few other places over the next couple of weeks.” While the new image sizes are probably too large for the default photo pages, we wouldn’t be surprised to see Flickr refresh the photo page layout with larger images in the near future.

The larger of the two new photo sizes also seems like a future-friendly choice since it works well with very high-res screens like what you’ll find on Apple’s latest iPad. Although Flickr does not appear to be doing so just yet, serving the larger images to the iPad would make for sharper photos on the iPad’s high-resolution screen. [Update: The Flickr team tells Webmonkey that it "just enabled hi-res photo sharing to the new iPad this morning."]

Naturally, to take advantage of the new larger image sizes Flickr is now creating, you’ll need to be uploading photos at least that large. But given that most phone cameras produce images in that pixel range these days, there’s a good chance you already are.

Flickr Pro members can control how large their images are displayed; just head to the new image size settings page. By default Flickr sets this to “best display size,” though if you want to stop people from downloading high-res copies of your images you can limit the display size to 1024 pixels. The new image size setting doesn’t affect who can download your original files, just those created by Flickr. But since the sizes Flickr creates are larger than what most original images would have been back when Flickr first launched, the new setting makes sense.

One thing to note with the new image sizes: they only apply to photos uploaded since Mar. 1, 2012; older images won’t be resized. The other thing to know is that if you upload something with a long edge of less than 2048 pixels, Flickr won’t upsize it so there’s no need to worry about small images being pixelated.

The new image sizes may not win over fans of filter-happy, low-res image sharing websites, but for Flickr aficionados it offers a compelling reason to stick around.

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In 2008, accountant and amateur photographer Lee Jeffries was in London to run a marathon. On the day before the race, Jeffries thought he would wander the city to take pictures. Near Leicester Square, he trained his 5D camera with a long, 70-200 lens on a young, homeless woman who was huddled in a sleeping bag among Chinese food containers. “She spotted me and started shouting, drawing the attention of passersby,” Jeffries says. “I could have just walked away in an embarrassed state, or I could have gone over and apologized to her.” He chose the latter, crossed the street and sat with the woman. The eighteen-year-old, whose complexion indicated she was addicted to drugs, told Jeffries her story: her parents had died, leaving her without a home, and she now lived on the streets of London.

This experience had a profound effect on Jeffries, sharpening the focus on the subject matter of his street photography—the homeless—and defining his approach to taking pictures. He didn’t want to exploit these people or steal photographs of them like so many other photographers who had seen the homeless as an easy target. In an effort to make intimate portraits, Jeffries would try to connect with each person on an individual basis first. “I need to see some kind of emotion in my subjects,” Jeffries says. “I specifically look at people’s eyes—when I see it, I recognize it and feel it—and I repeat the process over and over again.” Jeffries tries to keep the contact as informal as possible. He rarely takes notes, feeling it immediately raises suspicion, and prefers to take pictures while he is talking with his subjects to capture the “real emotion” in them. “I’m stepping into their world,” he says. “Everyone else walks by like the homeless are invisible. I’m stepping through the fear, in the hope that people will realize these people are just like me and you.”

Self-taught and self-funded, Jeffries has used vacation time to travel to Skid Row in Los Angeles three times, as well as Las Vegas, New York, London, Paris and Rome, to continue his project. The way that Jeffries processes his images and the heavy use of shadow and light within his pictures is a direct reference to the religious overtones he felt while photographing the beggars and homeless in Rome. The underexposure in camera and process to dodge back light where he wants it—although done in a digital environment—relate more to the traditions of analog printing. The effect of the subjects on the photographer is equally heavy: “When I’m talking to these people, I can’t then leave that emotion, so when I get back to my computer so emotionally involved, sometimes I will start to cry when processing the image,” Jeffries says.

The photographer’s passion has become his life mission. He uses his photography to draw attention to and raise funds for the homeless, posting the images to Flickr and entering the work into competitions. Over the past three years Jeffries has placed third, second and second in an annual Amateur Photographer magazine award contest, and has won separate monthly contests which come with a camera as a reward. Each of the half dozen cameras he’s won has been donated to raise funds for charities, including homeless and disability organizations. The proceeds from Jeffries’s Blurb book, which features homeless portraits, go to the Union Rescue Mission in Los Angeles and the photographer allows any charity to use his images free of charge. Jeffries also runs the London and New York marathons to raise money for Shelter, a U.K. housing charity. He’s committed himself at a more personal level too, buying lunch for a man who had lost his fingers and toes to frostbite or taking a woman with a staph infection to the hospital when she was sick. Jeffries estimates he has given thousands of dollars to these individuals, but what he has given them in terms of a sense of dignity and outpouring of concern is immeasurable.

Jeffries’s powerful portraits are getting noticed. He recently won Digital Camera magazine’s Photographer of the Year award. There has been an explosion of interest in the last two to three months as the images have been shared across the web, spreading virally via Flickr, Facebook and Twitter, and more recently, appearing on blogs and in mainstream media including the Independent and Guardian. A book is slated to be published next month by Yellow Korner. The increased exposure is welcome news for a man whose self-funded journey can be difficult. “I can’t change these people’s lives,” he says. “I can’t wave a magic wand but it doesn’t mean I can’t take a photograph of them and try to raise awareness and bring attention to their plight.”

Lee Jeffries is a photographer based in Manchester, England. See more of his work here.

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Several Web sites have written about the Flickr page of a Canadian haunted house. We couldn't help but wonder what it was that scared all of the visitors documented in the viral pictures.

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There are some quiet and contemplative moments happening in the Flickrstream of ‘Shtroxy‘. They are like little snippets from past memories or dreams. Some of them are light and some are dark. She has a great eye for composition and I would be curious is these are staged or just captured on the fly.

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