This is the same footage with 300% speed. I was attempting to discover a possible rhythm in nature only capable to view with manipulating time.

Recorded at 50fps, slowed with FC to 23%. I  didn’t decide to film with the Z5 as it only records 12 seconds where as i wanted a slow long footage to create an almost hypnotic atmosphere.

I filmed this during a Top Shop sponsored photoshoot inspired by Guy Bourdin films.

Bourdin filmed his models as they posed, with high contrast grain film, reducing them to a modern art performance instead of a photoshoot.

I also edited the piece using high contrast and added film gain to replicate the originals.

I filmed Leigh-Ann with 24fps 720p HD camera similar to Andy Warhol, then slowed the footage down to 5% of original speed.

I also wanted to create a mystical ambient feel to the film like Tarkovsky’s Solaris. I created this by using and experimenting with the light ray effect filter on Final Cut.

http://www.wired.com/thisdayintech/2010/04/0406harold-edgerton-high-speed-photography?

Photo inspired (like most of my high speed photographs) by Harold “Doc” Edgerton. In this case a .22 bullet cutting through stretched rubber bands. From knowledge of bullet velocity and band spacing one can roughly determine the rate at which the bands pull back after being cut.

1903: Harold Edgerton is born. The electrical engineer and photographer will change the way we see the world: fast.

Edgerton invented stop-action, high-speed photography, helping push the obscure stroboscope from a laboratory instrument into a household item. He used the technique to make a body of work that’s revered both for its scientific advancement and its aesthetic qualities.

Edgerton was using stroboscopes in the late 1920s to study synchronous motors for his Master of Science thesis at the Massachusetts Institute of Technology. The stroboscope emitted short, repeating bursts of light. Edgerton thought to aim it at everyday objects, like a milk drop.

He then took the technology one step further and started building flash tubes, with the help of Kenneth J. Germeshausen and Herbert E. Grier. The first was filled with vaporized mercury, though later models used xenon gas.

(Edgerton, Germeshausen and Grier founded EG&G, a technology and management firm now part of URS Corp.)

Following the path of Eadweard Muybridge a half-century earlier, Edgerton photographed a variety of previously unseen details of athletes, animals and inanimate objects.

The duration of Edgerton’s flash was extremely short, about a millionth of a second. His most famous photos include bullets penetrating an apple and a playing card, and a football being kicked.

Edgerton’s research also led him to develop side-scan sonar. His underwater stroboscope technology helped his friend Jacques Cousteau discover the wreck of the ocean liner Britannic.

His work found its way into many forms of media. A 1940 documentary film about Edgerton’s wizardry, Quicker’n a Wink, won the Oscar for best short subject. His photography work is featured in the collections of the art museums the world over.

Edgerton also designed a flash technique for aerial night reconnaissance for the Army. Using his underwater stroboscope technology, he led a search for the Loch Ness monster in 1976, but to no avail.

Edgerton continued to teach at MIT for more than 40 years and was a professor emeritus of electrical measurements there until his death in 1990.

What’s your best high-speed photo? Submit it to our Reddit widget below, and vote for your favorite.

Source: Various

Photo: Cutting the Card Quickly!, 1964, Minneapolis Institute of Arts, Gift of the Harold and Esther Edgerton Family Foundation

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A collection of his work can be seen at this website.

Memorable, but not altogether subtle. There is a definite voyeuristic nature to these works, which in some ways heightens desire, although not necessarily for the shoes. The pieces are mostly untitled, so it’s hard to refer to them specifically, but generally Bourdin created two types of image – one where a narrative is clear and another where women seemed to be reduced to nothing more than mannequins.

Guy Bourdin (December 2, 1928 in Paris – March 29, 1991 in Paris) was one of the best known photographers of fashion and advertising of the second half of the 20th century. He shared Helmut Newton’s taste for controversy and stylization, but Bourdin’s formal daring and the narrative power of his images exceeded the bounds of conventional advertising photography. Shattering expectations and questioning boundaries, he set the stage for a new kind of fashion photography.

Guy Bourdin was a short man with a whiny voice, and had a reputation of being incredibly demanding. Dark rumours surrounded him: his mother abandoning him as an infant, the suicides of his wife and two of his girlfriends, and the cruelty in which he treated his models.[5] Bourdin was not a natural self-promoter, and did not collect his work or make any attempt to preserve them; in fact he refused several offers of exhibitions, rejected ideas for books, and wanted his work destroyed after his death