Mass Effect 3 (BioWare, 2012) has a side mission titled “Citadel: Inspirational Stories” where you can use the character’s “omni tool” (a kind of futuristic Swiss-army-knife strapped on the arm that contains also camera capabilities) to take shots of refugees in the Citadel, to raise morale and inspire the population on the issue.
Species Hunt (Frib, 2012) – submitted to Ludum Dare 24 (August 24th-27th 2012, 48 Hour Compo Entry).
Species Hunt! A game where you have to shoot birds! With a camera!
Enjoy a peaceful stroll on the beach while snapping some exotic (Ha! I mean common) birds. Try to take the best photo ever! Or fill up your collection of new species you have personally discovered, then name them after yourself! Or just enjoy the view and watch the birds muck about.
Requires XNA 4.0. Should work on most machines, but if it doesn’t, let me know and I’ll try to fix it ASAP!
Controls are editable in-game. But a quick rundown:
Move with WASD/arrows
Equip camera with RMB
Take picture with LMB
Show/hide photo album with tab
Run with shift
Zoom camera with Q/E or mousewheel
Photographs taken in-game can be saved for use outside the game. Simply click on the photo in the album, then save to disk. You can also enable autosaving every new photo taken automatically in the options menu.
Celebrity Hunt (Fastgames.com, Begamer.com, 2012).
Be a paparazzi. Hunt celebrities with your camera and prepare an awkward situations for them. Take a perfect scandalous front page picture, maybe you will win a prize at the end. Use only your mouse to point and click causing a chain of actions and reactions.
play it online: http://www.begamer.com/flash-game/23649/celebrity-hunt/
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/