Anamorphic LA Myspace Videos

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April 3, 2017 (Added)
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This timelapse piece was shot in and around the Los Angeles area using a Sony A7R2 and a Sony A7S2 e...

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CAN YOU FEEL THE FORCE likes this.

CAN YOU FEEL THE FORCE

Anamorphosis is a distorted projection or perspective requiring the viewer to use special devices or occupy a specific vantage point (or both) to reconstitute the image. The word "anamorphosis" is derived from the Greek prefix ana‑, meaning "back" or "again", and the word morphe, meaning "shape" or "form". An optical anamorphism is the visualization of a mathematical operation called an affine transformation.[1] The process of extreme anamorphosis has been used by artists to disguise caricatures, erotic and scatological scenes, and other furtive images from a casual viewer, while revealing an undistorted image to the knowledgable spectator. There are two main types of anamorphosis: perspective (oblique) and mirror (catoptric). More-complex anamorphoses can be devised using distorted lenses, mirrors, or other optical transformations. Examples of perspectival anamorphosis date to the early Renaissance (fifteenth century). Examples of mirror anamorphosis were first seen in the late Renaissance (sixteenth century). With mirror anamorphosis, a conical or cylindrical mirror is placed on the drawing or painting to transform a flat distorted image into an apparently undistorted picture that can be viewed from many angles. The deformed image is painted on a plane surface surrounding the mirror. By looking into the mirror, a viewer can see the image undeformed. Leonardos Eye (Leonardo da Vinci, c. 1485) is the earliest known definitive example of perspective anamorphosis in modern times. The prehistoric cave paintings at Lascaux may also use this technique, because the oblique angles of the cave would otherwise result in distorted figures from a viewers perspective. Hans Holbein the Younger is well known for incorporating an oblique anamorphic transformation into his painting The Ambassadors. In this artwork, a distorted shape lies diagonally across the bottom of the frame. Viewing this from an acute angle transforms it into the plastic image of a human skull, a symbolic memento mori. During the seventeenth century, Baroque trompe loeil murals often used anamorphism to combine actual architectural elements with illusory painted elements. When a visitor views the art work from a specific location, the architecture blends with the decorative painting. The dome and vault of the Church of St. Ignazio in Rome, painted by Andrea Pozzo, represented the pinnacle of illusion. Due to neighboring monks complaining about blocked light, Pozzo was commissioned to paint the ceiling to look like the inside of a dome, instead of building a real dome. As the ceiling is flat, there is only one spot where the illusion is perfect and a dome looks undistorted. Mirror anamorphosis emerged early in the 17th century in Italy and China. It remains uncertain whether Jesuit missionaries imported or exported the technique Anamorphosis could be used to conceal images for privacy or personal safety. A secret portrait of Bonnie Prince Charlie (now held at the West Highland Museum, Scotland) is painted in a distorted manner on a tray and can only be recognized when a polished cylinder is placed in the correct position. To possess such an image would have been seen as treason in the aftermath of the 1746 Battle of Culloden In the eighteenth and nineteenth centuries, anamorphic images had come to be used more as childrens games than fine art. In the twentieth century, some artists wanted to renew the technique of anamorphosis. Marcel Duchamp was interested in anamorphosis, and some of his installations are "visual paraphrases" of anamorphoses (see The Bride Stripped Bare by Her Bachelors, Even / The Large Glass). Jan Dibbets conceptual works, the so-called "perspective corrections" are examples of "linear" anamorphoses. In the late twentieth century, mirror anamorphosis was revived as childrens toys and games. Surrealist artist Salvador Dalí used extreme foreshortening and anamorphism in his paintings and works, and had a glass floor installed in a room next to his studio to enable radical perspective studies from above and below. His Dalí Theatre and Museum in Figueres, Spain features a 3-dimensional anamorphic living-room installation with custom furniture that looks like the face of Mae West when seen from a certain viewpoint

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