Selfies In Video Games, by Bobdunga, published on YouTube on 26 Jan 2019
Davit Ruitz – “I’m a Landscape Photographer”
“Artists have used Grand Theft Auto V as a canvas for years. Now, protesters are doing the same.” by Hart Fowler, 11 February, 2020.
Realism, it turns out, can invite the expression of tensions that may not fully manifest in the real world.
which probably came from here:
which in turn reminded me of Jon Haddock’s image from The Screenshots series (2000):
and Cody Walton’s The Unknown Rebel:
“Heroic Doom Mod Adds 37 Instagram Filters And A Selfie Stick” by Mike Fahey, 2/15/15
After almost 22 years Doom is finally finished thanks mod-maker Linguica’s “InstaDoom”, which adds 37 InstaGram filters to the game and swaps out the fabled BFG with a selfie stick.
Once the filter is applied, players can rush through the first level to the location that once held a chainsaw but now holds the legendary Selfie Stick. Linguica swapped out chainsaw and BFG locations throughout the game, and replaced the powerful projectile weapon with a stick with a pixel rendition of Doomguy on the end.
more about InstaDoom: https://doomwiki.org/wiki/InstaDoom
Suzanne Treister, Fictional Videogame Stills (1991-1992)
In the late 1980s I was making paintings about computer games. In January 1991 I bought an Amiga computer and made a series of fictional videogame stills using Deluxe Paint II. I photographed them straight from the screen as there was no other way to output them that I knew of apart from through a very primitive daisy wheel printer where they appeared as washed out dots.
The effect of the photographs perfectly reproduced the highly pixellated, raised needlepoint effect of the Amiga screen image. Conceptually this means of presentation was also appropriate in that it made it seem like I had gone into a videogame arcade and photographed the games there, lending authenticity to the fiction.
Suzanne Treister, From Fictional Videogame Stills to Time Travelling with Rosalind Brodsky, 1991 – 2005, from ‘Videogames and Art’, Ed. Andy Clarke, Grethe Mitchell, Publ. Intellect Books, UK 2007: https://www.suzannetreister.net/Ampages/Treister_Essay.pdf
“A conversation with artist Raphael Brunk” By Ruth Polleit Riechert
Did you reprogram the computer games for that purpose?
Three years ago, there was no software that could be used in computer games to generate images with a native resolution in the three-digit megapixel range, to go beyond a typical screenshot. My idea was: I want to take photos in computer games, but the work must have a certain quality in terms of sharpness and resolution, and it must be printable as very large formats without compromising the quality. Two of my friends who happen to be software developers “wrote” a camera we developed together: it’s a camera simulation. It works like a digital camera, and I can use it to shoot “ingame”.
And later you even reprogrammed computer games, so that the camera could take photos of things, that you usually don’t see in the game.
Exactly. We found a way to get into some kind of meta-level within the game, in which certain elements of the game structure are invisible. Therefore, the images look like architectural models or collages. For example, there is a lantern hovering somewhere, but it has no foundation. This is how the pictures in the “Captures” series were created. During the editing process, each image is rasterised into at least 400 individual image sections, which, based on a particular algorithm, are subsequently reassembled to become one picture.
PHOTOGRAPHS (EightyEight Games, 2019)
Set off in the distance, you’re given a camera, looking to take photos of their lives: whether it be a grand-father and grand-daughter playing their favorite game, a diver perfecting her craft, or strangers working together to survive. Each photo is set with a small puzzle, each style different for each arc, that progresses the time line before taking the next photo. Each photo taken dives deeper into the lives of these five individuals, all the way to the climax of each arc, showing what went wrong, and our character’s wishes.
comment by thatdiesel
[…] As a photographer all the little details were a nice touch- seeing the camera settings change with the scene and even with cursor movement put a smile on my face.
The photographs are just a framing device for the story as it moves along. The experience is all about the stories.
comment by whythecynic
Super Mario Party (NDcube, 2018) contains a mini game titled Slaparazzi, where you compete against other characters to be in the center of the frame when the photograph is taken.
It’s an interesting twist compared to the usual paparazzi photography games, where the subject of the photo is the one with agency and attempting to get in the picture, rather than the photographer trying to get a picture of a (often unaware or non consensual) subject.