Sphericam, the first 360 degree video camera made specifically for virtual reality film production, launched on Kickstarter June 30, with a funding goal of $150,000 by July 30.
About the size of a tennis ball, the Sphericam 2 includes six cameras that work seamlessly together to capture great-looking VR video content straight out of the box.
As huge companies like Oculus Rift and Samsung work furiously to create the best virtual reality viewing platform, Sphericam 2 has been created to fill a growing market void of actually creating that virtual reality content.
Sphericam 2 is perfect for recording stunning footage of adventure sports, journalism stories, and events such as weddings or birthdays.
A host of mounting options gives users multiple ways to hold the camera and capture footage. The camera also includes WiFi and wireless streaming, allowing users to easily view and share content on a smartphone or desktop. Sphericam 2’s iOS and Android app also allows users to monitor, transfer, view, edit and spread the virtual reality footage instantly.
“Sphericam 2 is poised to bring incredible cinematic content to Oculus Rift, Google Cardboard, and the VR world. Our camera has been designed to be the highest performing and most usable virtual reality camera on the market today,” said Sphericam creator Jeffrey Martin. “Every specification from frame rate to sensor type was chosen to maximize performance on today’s VR hardware.”
Dazzling crystalline design housed in a rugged anodized aluminium body
Six high-resolution lenses maintain constant exposure, WB settings for artifact-free 360°shooting
Jaw-dropping 4K resolution that leaves nothing to the imagination
Unmatched shooting flexibility with 24, 25, 30, 48, and 60 fps
Detail-devouring 2.4 Gigabits per second of raw capture gives incredible latitude for post production and color grading
Tiny distance between sensors minimizes parallax
Automatic, real-time stitching is possible to minimize post production times
Sphericam 2 can now be purchased via Kickstarter beginning at $1,299, which is $200 off of the final retail price.
In keeping with their mission of “changing the world through digital experiences,” Adobe has launched a milestone release of its flagship Adobe Creative Cloud tools and services. They also announced the availability of the new Adobe Stock content service.
The 2015 release of Creative Cloud includes major updates to Adobe’s desktop tools, including Photoshop CC, Illustrator CC, Premiere Pro CC and InDesign CC. It also provides new connected mobile apps for iOS and Android.
Adobe Stock is the first stock content service to be integrated directly into the tools creatives use every day.
Adobe Stock Content Service
Adobe Stock makes 40 million photos, vector graphics and illustrations accessible directly within CC desktop apps. You can launch Adobe Stock with CC desktop software, add watermarked images to Creative Cloud libraries, and then access and work with images across multiple desktop and mobile tools. When ready to license an image for finished work, you can do it directly within the CC desktop software application. You can also edit a watermarked image in an applications such as Photoshop CC. When licensed, the edits are automatically applied to the purchased full-resolution image.
Based on the acquisition of stock content provider Fotolia earlier this year, Adobe Stock is available in 36 countries and 13 languages worldwide, including the US, UK, Australia and Japan. It is expected to be available in India in the near future.
Because Adobe Stock is a standalone service, you don’t have to be a Creative Cloud member to download, purchase, or sell stock images. You can buy single images as needed or purchase a monthly plan.
If you are a Creative Cloud member, you can save up to 40 percent when you add an Adobe Stock annual plan to your Creative Cloud membership.
Adobe Stock may shake up the $3 billion global stock image market, because Adobe customers not only contribute to stock image services but are also regular purchasers of stock content. An estimated 85 percent of creatives who buy stock content use Adobe tools. More than 90 percent of stock content sellers use Adobe software to prepare photos and images.
Photographers and designers who contribute content to Adobe Stock can access a worldwide community of stock content buyers and receive industry-leading rates for content.
According to David Wadhwani, senior vice president of Digital Media, “Adobe Stock extends Creative Cloud’s value as a vibrant global marketplace.” When accessed through Creative Cloud, the new service simplifies the buying and selling of stock content.
“Our customers–the best photographers and designers on the planet–will have the opportunity to contribute millions of new photos and images to Adobe Stock,” says Wadhwani. “This is really going to raise the bar in the world of stock content.”
Improvements to Creative Cloud
Wadhwani believes Creative Cloud 2015 is Adobe’s most powerful and comprehensive release to date.
Since Creative Cloud was introduced in 2012, Adobe has championed the idea that mobile devices should be integral to the creative process, with free companion mobile apps working seamlessly with CC desktop tools. Adobe has now released Brush CC, Shape CC, Color CC and Photoshop Mix on Android for the first time, bringing connected mobile workflows to millions of creatives worldwide. Adobe has also updated many of its popular Creative Cloud mobile apps for iPhone and iPad, including Adobe Comp CC, Photoshop Mix, Photoshop Sketch, Illustrator Draw, Brush CC, Shape CC and Color CC.
In addition to these updates, Adobe debuted Adobe Hue CC. Hue CC provides an easy way to capture and share production- quality lighting and color schemes — for video, film and broadcast — by using an iPhone camera and then applying these light and color moods into a Premiere Pro CC or After Effects CC project.
At the heart of Creative Cloud is Adobe CreativeSync, a signature technology that intelligently syncs creative assets: files, photos, fonts, vector graphics, brushes, colors, settings, metadata and more.
With CreativeSync, assets are instantly available, in the right format, wherever designers need them — across desktop, web and mobile apps. Available exclusively in Creative Cloud, CreativeSync means work can be kicked-off in any connected Creative Cloud mobile app or CC desktop tool; picked up again later in another; and finished in the designer’s favorite CC desktop software.
Advances in Desktop Tools
With the 2015 release of Creative Cloud, Adobe magic and Mercury performance provide speed and technology breakthroughs across 15 CC desktop applications:
Photoshop CC: Celebrating its 25th anniversary this year, Photoshop CC introduces Artboards, the best way to design cross-device user experiences in a single Photoshop document and quickly preview them on a device. Photoshop CC also includes a preview release of Photoshop Design Space, a sleek new work environment focused on the needs of mobile app and website designers.
Lightroom CC: Photoshop CC and Lightroom CC both gain the new Dehaze feature, which appeared first in October 2014. Dehaze eliminates fog and haze from photos, including underwater shots, for startlingly clear images. Haze can also be added to a photo for artistic effect.
Premiere Pro CC: The new Lumetri Color panel facilitates powerful color corrections using intuitive sliders and other simple controls. Morph Cut makes it easier to deliver polished interview content. It smoothes jump cuts in talking-head shots to create a cohesive, polished sequence.
After Effects CC: A new Uninterrupted Preview allows artists to adjust the properties of a composition and resize panels without impacting playback. Also, the ground-breaking Adobe Character Animator brings 2D figures to life using a webcam to track facial movements, record dialog and apply movements in real time onto a pre-configured character.
Illustrator CC is now 10 times faster and 10 times more precise than CS6. Powered by dramatic boosts to its Mercury Performance Engine, users can now pan and zoom smoothly without delays. With the new Chart tool (preview), designers can create beautiful custom charts and share them with others via CC Libraries.
InDesign CC gets its own Mercury performance surge. Zooming, scrolling, and paging through complex documents is now twice as fast. InDesign now also allows users to publish and distribute documents with a single click.
Dreamweaver CC has new responsive web design capabilities that let designers quickly lay out and build production-ready sites that adapt to any screen size.
Adobe Muse now includes instant access to premium fonts from TypekitAdditional updates to these and other CC desktop applications make this one of Adobe’s biggest releases in years.
Creative Cloud for the Digital Transformation of Enterprises
Adobe’s expanded Creative Cloud enterprise offering includes enterprise-grade administration, security, collaboration and publishing services for design-driven brands, businesses and large organizations.
These enhancements are designed to help large commercial, education and government customers who want to speed the development and publishing of customer experiences, as part of their digital transformation strategies.
The new enterprise edition of Creative Cloud includes all the product features from the Creative Cloud 2015 release, plus expanded security options and deep connections with Adobe Digital Publishing Solution (DPS) and Adobe Marketing Cloud.
Two new security capabilities ensure protection of corporate assets, including customer-managed encryption keys and a new managed service hosting option, which offers dedicated storage behind a customer’s firewall.
Creative Cloud for enterprise also supports an upcoming release of DPS, empowering existing teams in organizations to rapidly design and publish mobile apps without writing code.
A public beta of this major update to DPS is available this week, with more information available here. Content from Creative Cloud for enterprise also syncs with Adobe Experience Manager (AEM), a key component of Adobe Marketing cloud, to accelerate marketing campaigns by streamlining creative-to-marketing workflows.
CrowdPress is developing a crowdfunding platform for artists, photographers, and designers worldwide who want a hassle-free way to deliver printed rewards to their backers. A public Beta version of the site was launched in March. A full version is coming later this year.
“Current DIY crowdfunding platforms do not provide the support artists need once their projects have been successfully funded,” said Aaron Corson, founder and CEO of CrowdPress. “After backing more than 50 creative projects, I have experienced firsthand the challenges artists encounter after their projects were funded. With CrowdPress, I wanted to design a site that enabled talented artists to focus on doing what they love — create amazing art — without the hassles of working with printers, managing logistics, or dealing directly with customers.”
After a creative project has been funded, CrowdPress manages the printing, packaging, and shipping of the rewards to the project backers.
Artists, photographers, and designers from anywhere in the world are encouraged to submit their projects to the CrowdPress Beta. During the Beta phase, only poster projects are available. In the future, CrowdPress will expand to other printable rewards such as T-shirts, calendars, comic books, playing cards, phone/table cases, and 3D-printed items.
According to renowned artist-author-printmaker Harold Davis, Photoshop, DSLRs, and pigment-ink printers have empowered artists to produce photographic works that go far beyond what they could print in traditional darkrooms. Now that digital capture equipment, processing software, and printing technology have matured, he believes digital photography has emerged as an entirely new art medium.
With his background as a classically trained painter, accomplished professional film photographer, and meticulous printmaker, Harold Davis is proud to be at of the forefront of this new art medium. Through his experiments, craftsmanship, and unique insights, Harold Davis is expanding the definition of photography to include realms that go beyond documenting the decisive moment.
Harold Davis describes his current work as “Digital paintings that use photographs as the medium.” With the power of Photoshop and advanced digital printers and inkjet media, he believes that photographers who have the vision to tie it all together can craft images and styles that are uniquely their own.
To put his concepts in perspective, let’s review how digital photography workflows have evolved and why traditionalists in the art world must overcome some misperceptions about how Photoshop is being used.
Photoshop Preceded Professional Digital Cameras
First, it’s important to remember that Photoshop and digital photography didn’t always go together.
In an interview on Adobe’s website, one of Photoshop’s creators Thomas Knoll explained that the first few versions of Photoshop were primarily for graphic arts and publishing. Photography workflows weren’t practical with Photoshop until inkjet printers enabled photographers to scan their film, manipulate the file in Photoshop, and then print each image without the cost of making film separations for each photo.
In the mid 1990s and early 2000s, DSLR cameras became more powerful and less expensive. The popularity of Photoshop surged, because digital photography made it faster and easier to bring digital files into Photoshop.
To inspire the huge new wave of photography enthusiasts to “shoot like the pros,” the digital camera and printer manufacturers encouraged professional photographers to adopt digital photography and the “digital darkroom” in which Photoshop was used in conjunction with pigment inkjet printers. This required the technology developers to make products that could generate digital prints that were as good as (or better) than the prints that buyers expected from professional film photographers.
This took a while, because many established pro photographers were reluctant to change. Many photography pros might still be shooting film if their editorial and advertising clients hadn’t demanded the workflow and cost benefits that digital capture provided.
Unfortunately, eager newcomers to professional photography never learned how to shoot film. Many regarded Photoshop as a fast way to “fix” photographs that weren’t properly composed or lit on location. Plus, graphic designers routinely “doctored” images of models and celebrities that would be featured on magazine covers. Because some of these photographs looked “unnatural” and “off,” photographs that were “manipulated” in Photoshop were initially shunned by photography contest organizers and art collectors.
Those attitudes are changing because most professional photographers today have become much more skilled in the nuanced use of Photoshop. Digitally manipulated images have become the norm – in print and online. Most people really can’t tell if an image has been “Photoshopped.”
So now, photographic artists feel free to experiment and explore everything that’s possible with Photoshop. In addition to replicating film photography, Photoshop can be used to execute the artist’s inner visions.
Photographic artists such as Harold Davis don’t necessarily care if their work looks like a traditional “photograph” or not. They make images and visual stories that until now could only exist in their mind’s eye. Today, if an artist can dream it, they can depict it in photographic art.
Experience in Multiple Disciplines Pays Off
Harold Davis thoroughly understands the vast differences between film and digital photography because he has such an eclectic background. In the 1980s he supported himself as a commercial film photographer after studying painting in college. In the 1990s, he took a break from art and photography and wrote books about software and computer programming. He missed all the technology iterations that professional photographers struggled with as the digital imaging tools matured.
By the time Harold Davis’s publisher asked him to write a book on digital photography, most of the quality and permanence hurdles had been resolved. Digital capture, processing, and printing technology had become incredibly powerful, versatile, and accessible.
When Harold Davis picked up a DSLR for the first time in 2004, he quickly discovered that with Photoshop and new advances in printing media, he could combine his love of painting with his love of photography. He quickly recognized that his Photography 2.0 digital photography career would be vastly different from his Photography 1.0 film photography career.
One collector of Harold Davis’ work appreciates his unusual and effective use of technology in support of the classical tenets of photographic art and is excited about its possibilities: “I would compare his work to Ansel Adams’ and Edward Weston’s work during the crucial 1930s and 1940s time frame.”
Inspiring Others to Make New Forms of Photographs
To inspire other creative souls to push the boundaries of what’s possible with digital photography, Harold Davis leads workshops, posts webinars, and write books on topics such as Monochromatic HDR Photography, Creative Black & White, Creative Landscapes, Photographing Flowers, and Creative Lighting.
His newest books encourage photographers to develop their own visions of what a photograph might be. In his award-winning photography book, The Way of the Digital Photographer, Davis emphasizes that previsualizing an image today not only includes how a shot will be composed and lit but also how it will be processed in Photoshop and printed. Creative choices can be made during every phase of the process.
His next book (which Focal Press has scheduled for publication in August, 2015) is entitled Achieving Your Potential as a Photographer. The book presents an organized and cohesive plan for kickstarting your creativity and taking the resulting work into the real world. The concepts are accompanied by a workbook of exercises that can help you refine your thinking and skills.
Making Artisanal Prints and Limited Edition Portfolios
In a recent post on his blog, Harold Davis answered questions about “Making the Artisanal Inkjet Print.” Unlike the inkjet prints you buy from places such as Costco or giclee printmaking studios, artisanal inkjet prints are crafted one by one in the studios of solo artists. They take their time and fret over every detail. Taking into account file preparation, printing, and post-print issues, Harold Davis says he might spend five to ten hours making one print. Sometimes, he prints the same image 20 times until he gets the desired result.
“Just as much craft, skill, and artistry go into making a good artisanal pigment print as ever went into a print made in the chemical darkroom,” says Davis. His printer of choice is the Epson Style Pro 9900 with its Ultrachrome HDR pigment inks.
He considers paper selection an important element of the printmaking process and has experimented with a number of different papers. Because he is a huge fan of the range of Moab photo and fine art papers and an expert printmaker, Harold Davis was named a Moab Master in 2012.
Harold Davis numbers and signs each print he makes, but doesn’t sell limited editions of single prints. The concept of “limited editions” arose from printing processes in which it made sense to destroy the plates after relatively small number of copies were printed. But most photographers are unwilling to destroy any of their best files that could be used to make additional prints. So if a “limited edition” of one size print sells out, they might simply change the size of a print and call it a new edition.
“What I affirmatively do is keep track of my prints,” explains Davis. “That way, I can look up how many copies have been printed of any one image. Knowledgeable gallerists and collectors I have discussed this with tell me that this provides them with all they really need – a good sense of how many copies of a given print have been made.”
Harold Davis does make limited editions of the portfolios he prints. The first portfolio he made (in collaboration with his wife, graphic designer Phyllis Davis) was called Botanique. Each collection contains 21 original floral prints that emerge delicately from the hand-assembled presentation box. The images are printed on a variety of substrates, including Moab’s Moenkopi Unryu Washi, Moenkopi Kozo Washi, Moab Slickrock Metallic Pearl, Moab Lasal Exhibition Luster, and translucent archival vellum.
Because so much work is involved in hand-crafting each portfolio, Botanique is limited to an edition of 25 copies. Each book is hand-signed and numbered, and accompanied by a 9 x 12 –inch print of Harold Davis’ popular “Red Poppies” image.
Harold Davis has also released a portfolio entitled “Monochromatic Visions” and is currently working on “Kumano Kodo.”
Monochromatic Visions consists of twelve high-dynamic range black and white prints, created in an edition of 12 portfolios (plus three artist proofs). The idea of the portfolio is to show the capabilities of new high-tonal range black and white printmaking in the context of an apparently classical portfolio presentation.
A Modern Pilgrimage: The Kumano Kodo portfolio is based on photography of Harold Davis made during his journey through rural Japan in 2013. This portfolio is unique, hand-assembled and strictly limited to 12 copies plus 4 artist proofs. Each copy is hand-signed and numbered, and embellished with the artist’s hand-applied personal Japanese inkan.
The primary portion of the portfolio is printed on one continuous 16 ½ foot long piece of archival Japanese kozo washi produced at Awagami on Shikoku Island, Japan. (This paper is distributed in the United States as Moab Moenkopi Kozo.) This printing technique combines traditional paper with technological innovation and ideas into a handmade artist book creation.
The portfolio is wrapped in a cover showing a view of Kumano Sanzen Roppyaku Po, meaning “the view of 3,600 peaks,” from a high pass on the Kumano Kodo pilgrimage trail. The cover is printed on a single piece of archival, mould-made cotton paper.
Webinars and Workshops
To learn from Harold Davis, you can watch some of the webinars he has posted, order one of his books, or apply for an upcoming workshop in several locations in California, at the Heidelberg Summer School of Photography in Germany, or the Maine Media Workshops in Rockport, Maine. In October, he will lead a 15-day photographic adventure to the Sea-Girt Villages in Italy.
Harold Davis is excited to be pioneering new forms of photographic art. He believes the type of prints and portfolios he is currently creating could never have been produced before because the technology simply didn’t exist: “I am able to create in a domain where many techniques and crafts have come together for the very first time.”
“Times of disruption bring great opportunity,” says Harold Davis. “Basically, digital photography is emerging as an entirely new art form.”
Digital photo printing has reached the point at which anyone who knows how to push the right buttons can create a decent print. Getting a high-quality image out of a desktop printer is no longer the challenge it once was.
In her new book, “Hacking the Digital Print,” artist Bonny Lhotka illustrates how photographic artists can take their work to the next level through alternative methods of capturing and printing photographs. She proves that the hands-on art of printmaking is alive and well in the digital age. And she explains why you don’t always need Photoshop to alter the reality that you capture through your lens.
By using analog distortion filters and lens modifiers you can create images that look like you—not an app—made them. As Lhotka explains, “Capturing altered reality is different from altering captured reality.”
In the book’s introduction, Lhotka points out that, “A photograph is a two-dimensional representation of a three-dimensional world. We can restore the third dimension by using materials such as slate, granite, wood, or metal that have heft, mass and texture.”
In “Hacking the Digital Print,” Lhotka shows how to make original art objects and hand-crafted photo gifts by transferring your photographs to materials such as wood, glass, plastics, and metal. Lhotka also shows how to create skins that can be layered to make mixed-media photographs.
Some projects explained in the book use non-toxic digital alternatives to re-create classic printmaking techniques. For example, Wonder Sauce is a water-based transfer solution that is safe enough to use anywhere, whether it’s the studio, classroom, or kitchen counter.For the truly adventurous, Lhotka shares her custom techniques for taking photographs and applying them to 3D-printed objects created with popular consumer-model 3D printers.
Part artist/part mad scientist, Lhotka has spent many hours experimenting, hacking, and tearing things apart to discover new ways to take, make, and print images.
In the early days of wide-format color inkjet printing, Bonny Lhotka organized “Digital Atelier: A printmaking studio for the 21st Century” at the Smithsonian American Art Museum and was an artist-in-residence there for 21 days. The artists of the Digital Atelier demonstrated some of the creative possibilities of scanning and inkjet printing.
Lhotka is also a recipient of the Smithsonian/Computerworld Technology in the Arts Award.
Bonny says she designed “Hacking the Print” for “artists and photographers who enjoy serendipitous discoveries—those intuitive accidents that lead to new discoveries and possibilities.”
She encourages you to take the techniques in this book, hack them, and make them your own. She cautions that the process will be messy, and failures may require you to keep trying: “But in the process, you will make your exciting discoveries, find solutions, to your problems, and create a body of work that is uniquely yours.”
You can purchase “Hacking the Digital Print,” through Amazon or buy a signed copy through the DASS ART website. “Hacking the Digital Print” was published by Peachpit, the Pearson imprint the publishes technology books, e-books, and videos for creative people.
On the DASS ART website, you can also register for related workshops or order the specialized transfer media Lhotka has developed for transferring images printed with pigment inks on inkjet photo printers.
DASS has also started a Facebook group for artists and photographers who are creasting work with the techniques featured in Bonny Lhotka’s two previous books on contemporary printmaking techniques: Digital Alchemy and The Last Layer.
According to Lhotka, “The Facebook group is a place to post your work, share processes, and ask questions. I will pop in an out to answer questions and post tips.”
To gauge how rapidly innovations can revolutionize entire industries and create new opportunities for millions, note that the first version of Photoshop was launched just 25 years ago this month. Who could have imagined how much creative power that program would unleash in designers, photographers, artists, and publishers?
Today, we see imaginative imagery and visual communications everywhere — in smartphone apps, on building-size wall murals, in interactive digital signage, and immersive multimedia displays.
According to a fascinating timeline and an interview published on the Adobe website and Photoshop blog, Adobe shipped its first version of Photoshop on February 19, 1990. The program originated in 1987, when Thomas Knoll developed a pixel-imaging program called Display. It was a simple program to showcase grayscale images on a black-and-white monitor. However, after collaborating with his brother, John Knoll, the two began adding features that made it possible to process digital image files. The program eventually caught the attention of industry influencers, and in 1989, Adobe decided to license it.
“Adobe thought we’d sell about 500 copies of Photoshop a month,” recalls Thomas Knoll, Adobe Fellow and Photoshop co-creator. “Not in my wildest dreams did we think creatives would embrace the product in the numbers and ways they have. It’s inspiring to see the beautiful images our customers create, the careers Photoshop has launched, and the new uses people all over the world find for Photoshop every day.” On YouTube, you can watch a video of Thomas Knoll giving one of his first demonstrations of Photoshop.
“For 25 years, Photoshop has inspired artists and designers to craft images of stunning beauty and reality-bending creativity,” said Shantanu Narayen, Adobe president and chief executive officer. “From desktop publishing, to fashion photography, movie production, website design, mobile app creation, and now 3D printing, Photoshop continues to redefine industries and creative possibilities. And today that Photoshop magic is available to millions of new users, thanks to Adobe Creative Cloud.”
Photoshop’s massive popularity can be attributed to its constantly evolving capabilities and pipeline of deep image science. This steady stream of innovations is now reaching customers faster than ever before. The Photoshop and Lightroom desktop and mobile apps are constantly updated as part of Adobe Creative Cloud.
Photoshop 1 was aimed at graphic arts and publishing
In an interview with Russell Brady posted on the Photoshop blog, Thomas Knoll points out that the first version of Photoshop was really ahead of its time: “Photoshop 1.0 and the first several versions weren’t really tools for photography – not only because there wasn’t appropriate hardware available in digital cameras, but more importantly, because there were no digital printers. The only real way to get photographic-quality output from Photoshop back then was to create four-color separations on film and take them to a printing press, where the first copy of your photograph might cost you $2,000…If you wanted to print a roll of 35 millimeter film, you’re talking $35,000 to $40,000. So, Photoshop 1 was primarily aimed at the publishing and graphic arts markets.”
After full-color inkjet printers were introduced, Photoshop users could scan the film, manipulate the images, and print them out. The explosive growth of digital photography in the 1990s further accelerated the widespread adoption of Photoshop.
Photoshop’s success has helped Adobe develop and deliver a wide range of products and services used by tens of millions of creative people worldwide. In addition to Photoshop, applications such as Adobe Illustrator, InDesign, Premiere Pro, After Effects, Dreamweaver and others have pushed creativity forward, no matter what the media. And today Adobe Creative Cloud services such as Behance and Creative Talent Search are helping a new generation of creatives find a global audience and market for their work .
Adobe is celebrating Photoshop’s milestone in a big way. For example, Adobe is showcasing 25 of the most creative visual artists under 25 who use Photoshop. To be considered, artists upload their projects and use the tag “Ps25Under25.” In the coming months, those selected will take over the Photoshop Instagram handle (@Photoshop) for two weeks and present their work for the world to see. Fredy Santiago, a 24-year old Mexican-American artist and illustrator based in Ventura, California is the first one chosen to display his incredible images.
Adobe has also launched its “Dream On” advertising campaign as a tribute to 25 years of amazing art created In Photoshop. The TV commercial includes incredible work from Photoshop artists and iconic images from major motion pictures that used Photoshop In the making, including Avatar, Gone Girl, How to Train Your Dragon 2 and Shrek.
InsideAR, the epicenter of the rapidly growing world of Augmented Reality, is coming to San Francisco for the first time May 20-21, 2015.
The event is hosted by Metaio, the worldwide leader in Augmented Reality software, research and technology. With over 10 years of experience in Augmented Reality and Computer Vision, Metaio serves over 130,000 developers with over 1,000 published apps. Metaio’s AR software reaches over 30 million consumers around the world.
Metaio products have been used to develop AR apps for everything from publishing, retailing, and marketing to industrial engineering,maintenance,and manufacturing.
InsideAR offers a comprehensive introduction to Augmented Reality by bringing together innovators and stakeholders to share technical insights and the latest and greatest AR applications.
Network with futurists, global leaders in AR, and other creatives who are paving the way for an Augmented Reality future Additional AR events will be held in Munich, Beijing, and Tokyo.
In San Francisco, InsideAR will be presented at The Village at 969 Market Street in the heart of San Francisco.
If you can’t attend the conference, the Metaio website features case studies and white papers about how augmented reality is being used in print, marketing, education, television, sales, and manufacturing.