3D Printed Cameras!
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@claykippenthesis
3D Printed Cameras!
Excepts from the interface that I designed for my thesis project Lucid.
My favorite slider under the photograph is the warp tool. As you advance the warp tool, the image becomes distorted, which is reflected in the shape of the camera. The more the warp tool is advanced, the more the picture is stretched and the more the camera bends. By dragging on the warp slider we see that the shape of the film plane correlates with the way the image appears. If the film plane becomes skewed then the camera sees at a much wider angle than the human eye, yielding distorted results.
You can 3D print the camera after modeling it, and it will take photographs as shown in the last image.
Lucid: Seeing as a Tool for Learning This book was created by Clay Kippen as a component of the Master of Fine Arts Degree in Products of Design at the School of Visual Arts, New York, New York.
The latest version of the Lucid 3D modeler interface. I'm planning on animating the 3D from this for my thesis video.
Some new photos from my 5th version 3D printed pinhole camera.
3 Questions for Lucid
The top three questions I anticipate people will ask me about my thesis in the future are:
1. What is the actual problem that the work is attempting to solve?
The Problem: We've taken the difficulty of use, and the potential for failure out of our products because we see these qualities as inconveniences. In Western societies, we disassociate the value in learning about how things in our environment work from the standard subjects in education. While becoming less obtrusive, our digital tools are not teaching us the basic problem solving skills that we need to use in our daily lives.
Everything around us is being dematerialized (or digitized), and because of this, our mental models for how the world works are drastically changing. Imagine that you have only used a smart phone camera to take pictures - you've never seen a DSLR or a 35mm camera. You might think that photography works by opening an app and tapping a screen to make perfect exposures. In a way, this is an absurd thought. But if you think about what that world would be like, the one without physical cameras, it would make sense.
As a metaphor, we might ask, why do students still need to know how to spell when we have spellcheck? Or why do they need to know simple math when they have a calculators? Its because these are the elementary building blocks behind language and problem solving. The students shouldn't be allowed to use the tools until they have an understanding of what the tools are being used to solve for. Lucid is making the argument that, just because photography is not universally taught in schools, it doesn't mean that students should just be allowed to skip to digital photography and camera phones before understanding the elementary principles behind how a lens works - or how a camera works.
If we think about cameras in terms of ease of use, then analog cameras are a pain in the ass. You have to pay attention to many different variables when lining up a shot. You might want the picture to be in focus, so you need to adjust the lens based upon your distance to subject. At the same time, the light needs to be measured in order to achieve a proper exposure, and from this measurement, the aperture, or opening of the lens, has to be synched with the shutter speed. All of these variables change depending on how sensitive the film is to light. Each part of the camera system is its own small system, with different functions, that add up to the whole.
Experimenting with an analog camera is all about problem solving. When I first started shooting photos, most of my roll would be underexposed, or overexposed. These poorly executed photographs were the feedback that taught me the subtle quirks of using my particular camera. It takes time to learn new skills, and in becoming better at them, we sometimes need to experience difficulties.
2. Why would any photographer want to use your cameras?
They are fun to use.
You would build them through my proposed digital platform, and have a sense of ownership over the design. It would take unique pictures in a way that you've designed into the function of the camera.
3. Isn't digital photography just a natural evolution of the technology, like how Adobe Illustrator is to drawing?
Yes, mobile/digital is the contemporary instantiation of photography. However, I would argue that while anyone could pick up a digital camera to shoot photos, or to use Illustrator to make a drawing, in order to make the type of images that express your intent, these tools still requires a basic understanding of the fundamentals behind composition, content, color, intent…etc.
This image is from Bret Victor's Brief Rant on the Future of Interaction Design. Check out this piece by him, its amazing.
http://worrydream.com/ABriefRantOnTheFutureOfInteractionDesign/
Let's activate the hand and use our technology to help us get more involved in craft and making.
Shot from this morning's filming for a concept video. Thanks to Gaïa for the images, and for acting in my movie.
Wavy Cam is here to distort your world with its curved film plane! Images made in NYC on Fuji Neopan 100. Digital rendering from Rhino V5.
Here is a new design for my speculative Lucid reactive modeler.
On the left is a photograph, and on the right is the reactive model of a camera. The sliders underneath each element are parametric so that when you change one, it affects the others. The intent here is that it shows/highlights the relationships between camera effects, the photograph and the camera model.
When you are done modeling, you can out output the design as a 3D print.
I love this comprehensive article about the creation of the Polaroid SX-70. This neat little camera flips up from a slender brick to a fully functional SLR. What's interesting here is that Technologizer is recognizing it as one of the best product designs ever, even though it was largely outsold by its successor, the One Step. At the time of its inception, the SX-70 was the easiest instant camera to operate. All the photographer had to do was focus, press the shutter button, and watch the print pop out of the front of the camera. This integral film did away with the sticky, chemical covered prints of the Type 100 pack films.
Early prototypes for a wearable camera obscura experience - perhaps for the Brooklyn Bridge.
This article, Goodbye, Cameras is a poignant account of Craig Mod's personal experience with the current state of mobile technology, and his opinion on the future of photography. The comments section offers a range of views on the practice of photography as an art form, and what functions a camera should have for the end user.
Over the course of the last year, my thesis has evolved into an exploration of 3D printing as a tool for learning. Though I've done quite a bit of research into this field, part of my inquiry has been a personal journey (mostly about getting back in touch with making art, and creating prints). Computer aided modeling has become my medium, and I'm working within the constraints of the 3D printers that are handy at SVA's Visible Futures Lab. There is something inspiring to me about experimenting with a new method of working. I remember my first time I witnessed someone enlarging a print in the darkroom, and the magic of seeing the photograph appear in developer. This experience is much akin to seeing a digital model come to life physically - something that feeds my current practice.
While exploring 3D printing and the design of cameras, I've started to develop a platform that teaches the inner workings of cameras and images. Lucid is a service that uses a photograph to generate a basic model of a camera, I'm wondering what happens when we flip the context of the camera and the print. In the past, the camera has been the object, or tool that records light as a means for a print. In this speculative interface, the photograph becomes the object that makes the camera. So with Lucid, the camera is the physical print.
In the example that I'm posting above, the photograph on the left has a massive light leak. Since the picture generates the model of the camera, we see that on the right the lid is starting to peel off of the body!
This is V5 of the Lucid 3D printed pinhole cameras - fresh out of the printer.
Lens: 0.2mm diameter
Aperture: f130
Film: 35mm
Printer: Dimension U-print
Lucid Cam Version 5 is about to make its debut within the next couple of days. Here are a few quick renderings that show its new key feature, a shutter flap (or attached lens cap). Though the body is almost identical to the 4th version of my camera, this one has been adapted to allow for lens cap to flip up or down. The earlier lens cap designs were harder to use because they fit on the body much more snuggly. They were designed in this way to stay put on the camera if it happened to be in a bag or if jostled. This camera will be the one that I send out to other artists or collaborators for testing.