Spirit Camera: The Cursed Memoir (TECMO KOEI GAMES and Nintendo, 2012).
Spirit Camera […] is a spin-off game in the Fatal Frame series, co-developed by Tecmo Koei and Nintendo for the Nintendo 3DS. The game comes with an “AR notebook”, the titular Diary of Faces, which the player uses in conjunction with the game.
Spirit Camera utilizes the capabilities of the Nintendo 3DS, which acts as the game’s Camera Obscura, the signature “weapon” of the Fatal Frame series. The game uses the gyro sensors and 3D cameras to create a “visceral” gaming experience.
In the game’s story and most minigame modes, ghosts will appear in the player’s environment, and will try to attack them. The player must use the Camera Obscura’s abilities to damage and defeat these spirits by photographing them with the L and R buttons. The player must also turn in all directions, as spirits hit by the camera will vanish and reappear beside or behind the player a few seconds later. Spirit Power, used for extra damage, can be charged by keeping the spirit within the camera reticle to charge the meter. The default Zero Lens is the only lens in the game that charges Spirit Power; all other lenses (mainly used for investigation) do not have this ability, though they can still be used in battle. Regardless of lenses, players can still halt a spirit’s attack by shooting when the camera reticle turns red.
Fatal Frame series: Photography Games 2
Videogame Landscapes (2012 – 2015)
Lace Veil, from the series Videogame Landscapes, © Justin Berry 2015
link: James Bridle – Picture Piece: Video Game Photography
Videogame Photographs (2014)
Untitled (sky 34), from the series Videogame Photographs, © Justin Berry 2014
On Frieze Magazine, James Bridle shows Justin Berry’s Stone Shields (2012) – an image taken from the game Medal of Honor – and compares it with Anselm Adams’ 1968 photograph El Capitan, Winter, Sunrise, Yosemite National Park, California.
It doesn’t carry any obvious signs of digital manipulation, but it bears out Adams’s famous remark: ‘You don’t take a photograph, you make it.’ Stone Shields is a composite of screenshots, created within the virtual world of the first-person-shooter video game Medal of Honor: its landscape is entirely digital. It is a composite of composites, as every pixel has been rendered from millions of lines of code and pre-existing textures created by the game’s designers, captured within the experience of the game itself (one notorious for its violence and militarism), and ultimately manipulated by Berry. In its artifice, it reveals all the artifice of image-making itself.
in his ending remark Bridle aligns the construction of the image through the camera medium and the textured digital image making process:
photography itself is a construct, and all images contain the mechanics of their own making.
full article: http://www.frieze.com/issue/article/picture-piece-video-game-photography/