“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.
Glitch Photography, Glitch Art and PostPhotography by Sabato Visconti
Konstantin Remizov has kindly offered a glimpse into the Russian community of in-game photographers that he is part of, existing in its current form since 2016: https://vk.com/ingameph
– a collective take on using the famous “Hall of mirrors” glitch for aesthetic purposes: https://vk.com/wall-122046911_1795
– a recontextualization of Daido Moriyama’s work and methods in the gamespace of Driv3r: https://vk.com/wall-122046911_1508
– an essay on parrallels between in-game photography and the works of Thomas Ruff and Jeff Wall (yup, on russian): https://vk.com/wall-122046911_1548
From time to time we also post notable works from outside the community and translate important texts (or even write our own, as evidenced above). But mostly, of course, the content of the group is constituted by the good old-fashioned thermite art, to borrow Manny Farber’s term – a constant flow of surreal experiences and deliberate deconstructions.
Unlike other communities of in-game photography, this stands out as having a very artistic sense and strongly connected with photographic history and traditions.
artist statement from the author’s site:
This series of photographs originates from four popular first person shooter games (Left 4 dead 2, Half-life 2, counter-strike and modern warfare 2) Unlike you might think the virtual world is not round like the physical world but flat with hard-cut edges. These photographs show us how the virtual world ends. What I find interesting about these photographs is that they behold a certain dramatic almost classical feel to them playing with our real life experiences but cut off.
project page: http://www.shotbyrobert.com/?page_id=102
artist portfolio: http://www.robertoverweg.com/